Categories
Politics

DOJ appeals particular grasp choice

Documents seized by the FBI from Mar-a-Lago

Source: Ministry of Justice

The Justice Department on Thursday appealed a federal judge’s decision to authorize a special master to review documents seized by the FBI from former President Donald Trump’s Florida residence.

The Justice Department also asked Judge Aileen Cannon to stay her related order, which bars the government from further reviewing classified documents found in last month’s search of Mar-a-Lago, Trump’s Palm Beach resort .

The moves came three days after Cannon approved Trump’s request for a special foreman to sift through the seized materials to identify personal items and records protected by attorney-client privilege or executive privilege.

The DOJ opposed the request, saying it had already completed a privileged review of the documents and that a special master could harm the government’s national security interests.

The FBI seized more than 10,000 government records when it searched Mar-a-Lago on Aug. 8. Many of these documents bore classification marks, including dozens of folders that were empty when picked up by the FBI.

Cannon, who was appointed by Trump, wrote in her ruling Monday in the US District of South Florida that “the country is best served with an orderly process that encourages interest and perceptions of fairness.”

The DOJ’s appeal was filed with the US Court of Appeals for the 11th Circuit, which has appellate jurisdiction over Florida district court cases.

The DOJ also asked Cannon to stay its order barring the agency from further reviewing and using the seized classified documents for criminal investigative purposes pending appeal. Last week, the department announced that the FBI had seized more than 100 classified documents during the raid.

The DOJ said in Thursday’s filing that it is likely to succeed in its appeal given the classified records, which represent a fraction of the documents found at Mar-a-Lago.

Trump “does not and could not claim that he possesses or possesses classified records, that he has a right to have those government records returned to him, or that he can make plausible claims of attorney-client records preventing the government from doing so would review or use them,” the DOJ wrote.

This is breaking news. Please check back for updates.

Categories
Politics

Choose Grants Trump’s Request for Particular Grasp to Assessment Mar-a-Lago Paperwork

A federal judge on Monday intervened in an investigation into former President Donald J. Trump’s handling of sensitive government records, ordering the appointment of an independent arbitrator to review a trove of materials released last month from Mr. Trump’s private club and residence in Florida were confiscated.

In a 24-page ruling, Judge Aileen M. Cannon of the Federal District Court for the Southern District of Florida also barred the Justice Department from using the seized materials for “investigative purposes” related to Mr. Trump’s ongoing investigation pending the arbitrator’s work , known as the Special Master, was completed.

The order would effectively bar federal prosecutors from using a key piece of evidence while they continue to investigate whether the former president unlawfully kept national defense documents at his Mar-a-Lago estate or impeded government efforts to get them back.

In her order, issued on the Labor Day holiday, Judge Cannon said she made her decisions “to ensure at least the appearance of fairness and integrity in the exceptional circumstances.” However, their order would not affect a separate review of the documents by the Office of the Director of National Intelligence.

Judge Cannon’s decision gave the Special Master sweeping powers to review materials extracted from Mar-a-Lago, some of which bore markings identifying them as top secret. It allowed anyone eventually appointed to the post to assess the documents not only for those protected by attorney-client privilege, a relatively common measure, but also for those potentially protected by executive privilege, the normally confidential internal Executive branch deliberations protects.

At a hearing on the issue last week, the Justice Department argued that since Mr Trump is a former President and the Department is itself, allowing a special master to conduct an executive privilege review of the seized material would be a radical and legally unfounded move Part of the current executive branch.

But Judge Cannon disagreed with the Justice Department, writing in the order that she was “unconvinced” by the government’s categorical claim that executive privilege did not apply in this context. She added that she felt the department’s position “arguably exaggerated the law” and that it made sense for her to set aside any documents that might be protected by executive privilege if the legal issues in the case are resolved.

“Even if any assertion of executive privilege by plaintiff in this regard ultimately fails, that possibility, even if probable, does not negate a former president’s ability to assert the privilege as a matter of first concern,” she wrote. “Because the eligibility review team did not search for any material that may be subject to executive privileges, further review is required for this additional purpose.”

A Justice Department spokesman did not initially respond to a request for comment, but Department officials last week discussed the possibility of an appeal should the judge rule in Mr Trump’s favour.

Glenn Thrush contributed reporting.

Categories
Politics

Trump attorneys once more push for particular grasp in FBI raid of Mar-a-Lago

Attorneys for former President Donald Trump on Wednesday again urged a federal judge to appoint an independent “special master” to review documents seized by the FBI at Trump’s Florida home.

The tightly focused filing in US District Court in West Palm Beach came a day after the Justice Department argued that appointing a special master could harm the government’s national security interests.

The Justice Department filing also said that “efforts were likely made to obstruct the government’s investigation” regarding the records that were sent out after the end of his presidency at Trump’s Mar-a-Lago residence.

And the DOJ announced that the FBI had seized more than 100 classified documents from the Palm Beach resort during its search of the property earlier this month. The agency also shared a redacted FBI photo of documents with classification marks recovered from a container at Trump’s “45 Office.”

Trump’s legal team, in its Wednesday night response, accused the DOJ of “converting the scope of responding to a request for a special master into an all-encompassing challenge to any judicial review, present or future, of any aspect of his unprecedented conduct in this investigation.”

The government’s “extraordinary document” suggests “that the DOJ, and only the DOJ, should be charged with the responsibility of evaluating its unwarranted pursuit of criminalizing the possession of a former president’s personal and presidential records in a secure environment,” Trump’s attorneys wrote .

They also accused the DOJ of making several “misleading or incomplete statements.”[s] the alleged ‘fact'”, but offered few details.

Judge Aileen Cannon, appointed by Trump, has scheduled a hearing at a West Palm Beach courthouse for Thursday at 1 p.m. ET.

Trump had sued to prevent the Justice Department from further examining materials stolen in the Mar-a-Lago raid until a special foreman is able to analyze them. This step is typically taken when there is a possibility that evidence should be withheld from prosecutors due to various legal privileges.

The DOJ told the judge Monday that its review of the seized materials was complete and that a law enforcement team had identified a “limited number” of materials that may be protected by attorney-client privilege. This privilege often relates to jurisprudence that protects the confidentiality of communications between an attorney and his client.

Trump’s lawyers responded Wednesday that the so-called Privilege Review Team was “utterly inadequate” in identifying all potentially privileged documents and separating them from the rest of the seized materials.

Trump and his office have publicly claimed that he declassified all documents seized by the FBI. But Trump’s legal team did not make that explicit argument in the civil suit before Cannon.

The DOJ said in Tuesday’s late night filing that when 15 boxes from Mar-a-Lago were picked up by the National Archives in January, Trump “never asserted executive privilege over any of the documents and claimed that any of the documents in the boxes contain classification marks have been released.”

The administration also said no claims of declassification were made when FBI agents went to Mar-a-Lago on June 3, pursuant to a grand jury subpoena, to collect additional records in Trump’s possession that bore classification markings.

The DOJ said it received that subpoena in May after the FBI developed evidence that dozens of boxes of classified information — aside from the 15 boxes found in January — were still at Trump’s home.

“Upon submitting the documents, neither the attorney nor the administrator alleged that the former president had released the documents or made any claims for executive privileges. Instead, the attorney treated them in a manner that suggested the attorney believed the documents were classified: The submission included a single Redweld envelope, double-wrapped with tape, containing the documents,” the DOJ wrote.

At the same time, Trump’s records clerk had also produced an affidavit alleging that “any and all” documents were turned over in response to a grand jury subpoena, the DOJ wrote.

But the FBI “later discovered multiple sources of evidence,” indicating other classified documents remained at Mar-a-Lago, according to the DOJ’s filing.

“The government has also developed evidence that government records were likely hidden and removed from storage and that efforts were likely made to obstruct the government investigation,” the DOJ wrote.

This and other information prompted the government to request a search warrant for Mar-a-Lago, which was finally carried out on August 8.

In their Wednesday response, Trump’s attorneys wrote that the DOJ’s report of the June 3 meeting was “materially mischaracterized.”

“If the government made the same untrue statement in the affidavit in support of the search warrant, then they misled the magistrate judge,” the former president’s attorneys wrote.

Trump also accused the DOJ of being “very fraudulent” in a social media post earlier Wednesday night, sharing a photo that appears to show numerous classified papers strewn on a carpeted floor.

Trump clarified that the FBI “took them out of boxes and scattered them on the carpet so it looked like a big ‘find’ to them.”

“They dropped them, not me – very deceptive… And remember, we were unable to have ANY representative, including lawyers, present during the raid. They were told to wait outside,” Trump wrote.

Categories
Entertainment

Paul Huntley, Hair Grasp of Broadway and Hollywood, Is Lifeless at 88

For the show “Diana” – a version shot without an audience during the pandemic and due to premiere on Netflix on October 1st – he created four wigs for actress Jeanna de Waal to portray the style of the Princess of Wales has changed over time, from lousy naivete to windswept sophistication.

Paul Huntley was born on July 2, 1933 in Greater London, one of five children of a military man and a housewife. From an early age he was fascinated by his mother’s film magazines. After school, he tried to find an apprenticeship in the film industry, but the flooded job market after World War II did not offer a place for him, so he enrolled at an acting school in London.

He eventually helped design hair for school productions and in the 1950s, after two years of military service, became an apprentice at Wig Creations, a major London theater company. He became the main designer and worked with Vivien Leigh, Marlene Dietrich and Laurence Olivier.

Mr. Huntley helped construct the signature braids that Elizabeth Taylor wore in the 1963 film “Cleopatra”. Ms. Taylor introduced him to director Mike Nichols, who a decade later hired Mr. Huntley to do hair for his Broadway production of “Uncle Vanya” in Circle in the Square. He eventually became a designer for plays and musicals, including “The Real Thing”, “The Heidi Chronicles” and “Crazy for You”.

Join The Times theater reporter Michael Paulson in conversation with Lin-Manuel Miranda, see a performance of Shakespeare in the Park, and more as we explore the signs of hope in a transformed city. For a year now, the “Offstage” series has accompanied the theater through a shutdown. Now let’s look at his recovery.

Mr. Huntley returned to a show on a regular basis to make sure standards were being met. He referred to himself as “the hair police”.

Tony Awards are not given for hair design, but Mr. Huntley was given a special Tony in 2003.

“Everyone says, ‘I want Paul Huntley,'” Broadway producer Emanuel Azenberg once told the Times. “He does the hair organically for the show. It’s not about him. “

Mr. Huntley saw hair not just as a decorative element, but as an expression of an era or a change in society and an integral part of character development. For “Thoroughly Modern Millie” he tried to remember New York City in 1922, his pony, his spit curls and finger waves were marked by a feeling of liberation after the First World War.

Categories
Politics

Decide appoints particular grasp for Trump lawyer’s prison case

Former New York Mayor Rudy Giuliani and Republican presidential candidate Donald Trump arrive to speak to police gathered at Fraternal Order of Police lodge during a campaign event in Statesville, North Carolina, U.S., August 18, 2016.

Carlo Allegri | Reuters

CNBC Politics

Read more of CNBC’s politics coverage:

Jones, who is a partner in the Bracewell firm, also will review electronic files recently seized from another Trump allied lawyer, Victoria Toensing, as part of the criminal probe of Giuliani.

The files of both lawyers were seized through search warrants.

Prosecutors had asked Manhattan federal Judge J. Paul Oetken on Thursday to appoint Jones as special master, and in a court filing told the judge that attorneys for Giuliani and Toensing supported that request.

“Judge Jones’s reputation for integrity and fairness made her the unanimous choice for all parties,” Giuliani’s lawyer, Arthur Aidala, told CNBC. “We look forward to working with her.”

Cohen, in a text message to CNBC, said, “Judge Jones was professional in the review and determination of attorney/client privilege of the more than 10 million documents in my case.”

“The choice of Judge Jones and the expeditious manner to which she conducts her court will not inure to the benefit of Rudy,” Cohen wrote.

In their request for Jones’ appointment, prosecutors noted that Giuliani previously had been a shareholder in the Bracewell firm, “which was then known as Bracewell & Giuliani.”

“In January 2016, Mr. Giuliani left the firm, and Judge Jones did not join the firm until July 2016,” prosecutors wrote. “None of the parties believe that Mr. Giuliani’s prior affiliation with Bracewell & Giuliani presents a conflict that would disqualify Judge Jones from being appointed as a special master or her firm assisting in her review.”

Prosecutors also told Oetken that another partner at Bracewell who had helped Jones in reviewing Cohen’s files for privileged material, and “who has a personal relationship with Mr. Giuliani,” will recuse himself from this matter in order to avoid the appearance of any conflict.”

Giuliani is under investigation by the U.S. Attorney’s Office for the Southern District of New York.

That office, which Giuliani once headed, in particular is eyeing whether he violated a law requiring people to register as agents representing the interests of foreign powers in certain cases. Giuliani during Trump’s presidency had pursued information about President Joe Biden and his son, Hunter Biden, among other things.

Giuliani had said he did nothing illegal.

Trump himself is under criminal investigation by the Manhattan District Attorney’s Office.

Categories
Entertainment

Paul Laubin, 88, Dies; Grasp of Making Oboes the Outdated-Original Manner

Paul Laubin, a revered oboe maker who was one of the few remaining woodwinds to build his instruments by hand – he made so few a year that customers might have to wait a decade to play one – died on March 1st in his Workshop in Peekskill, NY He was 88 years old.

His wife Meredith Laubin confirmed the death. She said that Mr. Laubin, who lived in Mahopac, NY, collapsed in his workshop at some point during the day and the police found his body there that night.

In the world of oboes, his partisans believe, there is Mr. Oubos oboes and then there is everything else.

Mr. Laubin was in his early twenties when he made oboes with his father Alfred, who founded A. Laubin Inc. and built his first oboe in 1931. He took over the business when his father died in 1976. His son Alex started working by his side in 2003.

Oboists in major orchestras including the New York Philharmonic, Boston Symphony Orchestra, and St. Louis Symphony Orchestra have played Mr. Laubin’s instruments and appreciated their dark and rich tone.

“There’s something that hits a chord deep within your body when you play a Laubin,” said Sherry Sylar, the New York Philharmonic’s principal associate oboist. “It’s a resonance that no other oboe has. It rings in your body. You get addicted to making a sound like this and nothing else will. “

In a dusty workshop near the Hudson River, lined with machines built back in 1881, Mr. Laubin crafted his oboes and cor anglais with an almost religious sense of precision. He wore an apron and puffed a pipe as he bored and turned the grenadilla and rosewood from which his instruments were made. (The pipe also served as a test device: Mr. Laubin blew smoke through the joints of the instrument to detect air leaks.)

His father taught him instrument making techniques that go back centuries. As the decades passed and instrument makers began to embrace computer-aided design and factory automation, the younger Mr. Laubin steadfastly resisted change. If it took him 10 years to build a good oboe, so be it.

“What’s the rush?” Mr Laubin said in a 1991 interview with the New York Times: “I don’t want anything with my name on it that I didn’t make, check and play myself.”

Mr. Laubin stored the blocks of his rare hardwoods outdoors for years so they could get used to extreme weather conditions and become more resilient instruments that could withstand the cracks that do woodwinds to death. After drilling a hole that would become the drilling of the instrument, it sometimes took another year for the piece of wood to dry out.

Mr. Laubin, who was a professional oboist as a young man, constantly played every oboe he worked on looking for imperfections. “Every key is a fight,” he told News 12 Westchester in 2012.

When a Laubin oboe was finally completed, its unveiling became a cause for celebration. A customer came into the Peekskill workshop with a bottle of champagne, and as he played his first notes, Mr. Laubin raised a toast.

Paul Edward Laubin was born on December 14, 1932 in Hartford, Connecticut. His father, oboist and music teacher, started making oboes because he was dissatisfied with the quality of the instruments available. He built the first Laubin oboe as an experiment and melted down his wife’s cutlery to make his keys. Paul’s mother, Lillian (Ely de Breton) Laubin, was a housewife.

As a boy, Paul was enchanted by the instruments his father made, but Alfred initially didn’t want his son to make music. Paul harassed him again and again; When he was thirteen, his father reluctantly gave him an oboe, a reed, and a finger table, and Paul taught himself to play.

Mr. Laubin studied auto mechanics and music at Louisiana State University in the 1950s. It wasn’t long before his yearning for performance overwhelmed him and he got a place in the Atlanta Symphony Orchestra. Soon after, he finally joined the family business and began building oboes with his father in the garage of their home in Scarsdale, NY

In 1958 they moved their workshop to a clarinet factory in Long Island City, Queens, and for a time the company was producing (relatively speaking) 100 instruments a year.

Mr. Laubin married the flautist Meredith Van Lynip in 1966. In 1988 he moved the company to its current location in Peekskill. Over time, Mr. Laubin’s team got smaller, as did his production.

In the 1990s, A. Laubin Inc. produced around 22 instruments a year. By 2005 the average had dropped to 15. Over time, the scarcity of the Laubin oboes only added to their legend. The company has rarely advertised and relied on word of mouth. A grenadilla oboe costs $ 13,200 and a rosewood instrument costs $ 14,000.

In addition to his wife and son, Mr. Laubin survives a daughter, Michelle; a sister, Vanette Arone; a brother, Carl; and two grandchildren.

Mr. Laubin was aware that selling so few instruments each year, no matter how exquisite, did not necessarily make financial sense. “I made the decision to follow my father even though I knew I would never get rich,” he told The Times in 1989.

The company’s fate is now undetermined. Alex Laubin served as office manager and helped with some aspects of production, but didn’t learn the entire process. He often asked his father to modernize their business – to no avail.

“Nobody sits down and puts down keys,” said Meredith Laubin. “It doesn’t turn out that there is always an oboe joint. This is all automated now, just like robots build cars. But Paul didn’t advocate any of these things. For him there was no cheating on the family recipe. “

But Mr. Laubin knew that the old ways would come to an end. In recent years he has found it harder to ignore the stark realities of an Old World craftsman in the modern age.

“Paul had to have part of his dream, namely to be able to work with his son,” said Ms. Laubin. “But the other part of his dream, since he knew his work would continue the way he did things, he knew that wasn’t going to happen.”

Nevertheless, he stuck to the tradition. On the day of his death, the beginnings of the Laubin oboe No. 2,600 lay on his desk.

Categories
Entertainment

Lynn Stalmaster, Hollywood’s ‘Grasp Caster,’ Dies at 93

Lynn Stalmaster, a compassionate and tenacious casting director who changed the careers of hundreds of actors including John Travolta, Jeff Bridges and Christopher Reeve and who cast hundreds of Hollywood films and television programs, died on February 12th at his Los home Angeles. He was 93 years old.

The cause was heart failure, said his son Lincoln.

Billy Wilder, Robert Wise, Hal Ashby, Mike Nichols, Sydney Pollack, and Norman Jewison all relied on Mr. Stalmaster’s ability to identify a character’s inner workings and match it to the thousands of actors who lived in his mental rolodex. This alchemical process, as Tom Donahue, the filmmaker of “Casting By,” a 2012 documentary about the craft put it, made Mr. Stalmaster’s work a fine art.

“Lynn had a wonderful gift,” said Mr. Jewison, the director and producer of such films as “In The Heat of the Night” and “Fiddler on the Roof,” both of which were cast by Mr. Stalmaster. Mr. Jewison was the first filmmaker to give a casting director his own film credit when he starred Mr. Stalmaster in “The Thomas Crown Affair” (released in 1968).

“I always encouraged him to find unusual people,” Jewison said. “For ‘Fiddler on the Roof’ I had to find actors who could speak Russian. Lynn found her in San Francisco, where there was a large Russian community. None of them were actors. He was so awesome. And he was very good at reading with actors. He could keep her calm and safe. “

A shy teenager who trained as an actor in the 1950s and was in the trenches of audition and worked on television and radio, Mr Stalmaster was focused on the actor’s experience and became a fierce advocate for those he referred to believed. After meeting As 18-year-old John Travolta, he pushed for the role that was eventually cast on Randy Quaid in “The Last Detail,” the 1973 Hal Ashby film starring Jack Nicholson.

There was a dead heat between the actors, Mr Travolta recalled in a telephone interview, but Mr Quaid’s physical presence was more like that of the character, as Mr Ashby and Mr Stalmaster told Mr Travolta on a midnight phone call praising his work.

At the time, Mr. Travolta was doing theater and advertising in New York, but Mr. Stalmaster was so believing in him that he persecuted him for two years. When a role for a character in a comedy television pilot emerged at a Brooklyn high school, Mr. Stalmaster urged him to turn down a lead role on a Broadway show and return to Los Angeles for an audition.

He got the role – which turned out to be the boastful punk manqué Vinnie Barbarino on a show that would find its own place in television history: “Welcome Back, Kotter”.

“He was pretty determined,” said Mr. Travolta of Mr. Stalmaster. “He didn’t let anyone consider her. After ‘The Last Detail’ he told me, ‘Don’t worry. That will happen.'”

Mr. Stalmaster has been involved in countless other careers.

He nudged Mike Nichols to cast a young Dustin Hoffman on “The Graduate”. LeVar Burton was in college when Mr. Stalmaster cast him as a lead in the 1977 hit television series “Roots”.

Geena Davis was trained as an actress but worked as a model when Mr. Stalmaster cast her in a supporting role in Tootsie, Sydney Pollack’s 1982 romantic comedy starring Mr. Hoffman. It was her first audition and the role would be her film debut.

After seeing Christopher Reeve in a play with Katharine Hepburn, Mr. Stalmaster suggested him for a small role in “Gray Lady Down” (1978), Mr. Reeve’s first film role, and then successfully campaigned for him to be the Starring in “Superman,” ”Released that same year.

“Lynn understood the actor’s process and the actor’s plight,” said David Rubin, another casting director and president of the Academy of Motion Picture Arts and Sciences. (Mr. Stalmaster was his former boss and mentor.) Mr. Stalmaster’s career has shown that “a success in Hollywood and a person are not mutually exclusive”.

In 2016, Mr. Stalmaster was the first and so far only casting director to receive an honorary Oscar for his work. At the Academy Awards, Mr. Bridges recalled how Mr. Stalmaster started his own career in the early 1970s. At the time, Mr. Bridges was in his early twenties and was trying to figure out whether he wanted a life in business when Mr. Stalmaster offered him a role in “The Iceman Cometh,” who would play John Frankenheimer’s 1973 film about Eugene O’Neill.

“These are some hard things,” Mr. Bridges recalled thinking when telling the audience of the awards. “It scared me as hell. I didn’t mean to do it to tell you the truth. I didn’t think I could do it. “

But he did, and the experience – terrifying but joyful too, he said – made him realize that he could live a life in acting. “I have to thank you, man,” said Mr. Bridges, nodding to Mr. Stalmaster, “for showing me this street. Lynn Stalmaster is the master caster. “

Lynn Arlen Stalmaster was born on November 17, 1927 in Omaha, Neb. His father, Irvin Stalmaster, was a judge on the Nebraska Supreme Court. his mother Estelle (Lapidus) Stalmaster was a housewife. Lynn had severe asthma and when he was 12 the family moved to Los Angeles because of the temperate climate.

A student at Beverly Hills High School, he took an interest in theater and radio and, after completing his military service, earned a bachelor’s and master’s degree from the UCLA School of Theater, Film, and Television in Los Angeles.

Mr. Stalmaster has had roles in a number of films, including “Flying Leathernecks,” a 1951 picture of John Wayne, and a job as a production assistant at Gross-Krasne, a company that made films for television in the early 1950s. When his casting director retired, he was promoted to the job and soon opened his own agency.

“I would spend the days meeting new actors, all this great new talent,” he said on Casting By, the documentary. He was working on Gunsmoke and other hit television shows in 1956 when Robert Wise, the director who directed “West Side Story” and “The Sound of Music” asked him to cast the 1958 film “I Want to Live” Susan Hayward based on the story of Barbara Graham, a prostitute who was sentenced to death row.

Mr. Wise wanted actors who looked like the actual characters in Graham’s life. It was Mr. Stalmaster’s big break, he recalled, as he found new faces to round out the cast and gave the film “a truthfulness, the truth” the director wanted to achieve.

His marriage to Lea Alexander ended in divorce, as did an early, short marriage. In addition to his son Lincoln, Mr. Stalmaster survived his daughter Lara Beebower. two grandchildren; and his brother Hal.

Mr. Stalmaster’s friendliness was as much an element of his art as his matchmaking skills, Mr. Rubin said. But he wasn’t a pushover and he was enormously persuasive, “firm in his creative point of view,” said Mr Rubin, “but extremely adept at convincing others that it was indeed their idea.”

Categories
Health

The Coronavirus Is a Grasp of Mixing Its Genome, Worrying Scientists

In the past few weeks, scientists have been raising the alarm about new variants of the coronavirus that carry a handful of tiny mutations, some of which appear to make vaccines less effective.

But it’s not just these small genetic changes that are cause for concern. The novel coronavirus tends to mix up large chunks of its genome when making copies of itself. Unlike small mutations, which are like typos in sequence, a phenomenon called recombination is similar to a large copy-and-paste mistake, where the second half of a sentence is completely overwritten with a slightly different version.

A number of new studies suggest that recombination can allow the virus to transform itself in dangerous ways. In the long run, however, this biological machinery could provide a silver lining in helping researchers find drugs that will stop the virus.

“There’s no question that recombination is taking place,” said Nels Elde, an evolutionary geneticist at the University of Utah. “And in fact, it’s probably a little underrated and could even play a role in creating some of the new worrying variants.”

The coronavirus mutations that most people have heard of, like the one in the B.1.351 variant first discovered in South Africa, are changes in a single “letter” of the virus or RNA’s long genetic sequence. Because the virus has a robust system for proofreading its RNA code, these small mutations are relatively rare.

In contrast, recombination is widespread in coronaviruses.

Researchers at Vanderbilt University Medical Center, led by virologist Mark Denison, recently looked at how replication goes wrong in three coronaviruses, including SARS-CoV-2, which causes Covid. The team found all three viruses showed “extensive” recombination when replicated separately in the laboratory.

Scientists fear that recombination could combine different variants of the coronavirus into more dangerous versions in a person’s body. For example, variant B.1.1.7, first discovered in Great Britain, had more than a dozen mutations that appeared suddenly.

Dr. Elde said the recombination may have brought together mutations from different variants that may have arisen spontaneously within the same person over time or that co-infected someone at the same time. At the moment this idea is speculative: “It’s really hard to see these invisible scars from a recombination event.” And while it is possible to get infected with two variants at the same time, this is considered rare.

Katrina Lythgoe, an evolutionary epidemiologist at the Oxford Big Data Institute in the UK, is skeptical that co-infection is common. “But the new worrying variants have taught us that rare events can still have a big impact,” she added.

Recombination may also allow two different coronaviruses from the same taxonomic group to exchange some of their genes. To investigate this risk more closely, Dr. Elde and his colleagues tracked the genetic sequences of many different coronaviruses, including SARS-CoV-2 and some of its distant relatives that are known to infect pigs and cattle.

Using specially developed software, the scientists highlighted the places where the sequences of these viruses aligned and matched – and where they did not. The software suggested that in the last few centuries of virus evolution, many of the recombination events involved segments that made up the spike protein that helps the virus enter human cells. This is worrying, the scientists said, because it could be one way that one virus essentially infects another virus.

“Through this recombination, a virus that cannot infect humans could recombine with a virus like SARS-CoV-2 and take over the sequence for the tip and infect people,” said Stephen Goldstein, an evolutionary virologist who worked on the study.

Updated

Apr. 5, 2021, 8:13 p.m. ET

The results, which were posted online on Thursday but not yet published in a scientific journal, provided new evidence that related coronaviruses are quite promiscuous in terms of recombining with one another. There were also many sequences that appeared in the coronaviruses that seemed to come out of nowhere.

“In some cases, it almost looks like a sequence is coming from space, from coronaviruses that we don’t even know about,” said Dr. Elde. The recombination of coronaviruses across completely different groups has not been studied in detail, also because such experiments may have to be subject to a government review in the USA due to security risks.

Feng Gao, a virologist at Jinan University in Guangzhou, China, said that while the Utah researchers’ new software found unusual sequences in coronaviruses, it does not provide any iron evidence of recombination. It could just be that that’s how they evolved.

“Diversity, no matter how much, doesn’t mean recombination,” said Dr. Gao. “It could well be caused by tremendous diversification during virus development.”

Scientists have limited knowledge of whether new pandemic coronaviruses can arise through recombination, said Vincent Munster, a viral ecologist at the National Institute for Allergies and Infectious Diseases who has been studying coronaviruses for years.

Yet this evidence is growing. In a study published in July and officially published today, Dr. Munster and coworkers suggest that recombination is likely, as both SARS-CoV-2 and the virus behind the original SARS outbreak in 2003 resulted in a version of the spike protein that enables them to skillfully invade human cells. This spike protein binds to a specific entry point in human cells called ACE2. This paper calls for stronger coronavirus surveillance to see if there are others who are using ACE2 and therefore may pose similar threats to humans.

Some scientists are studying recombination machinery not only to ward off the next pandemic, but also to combat it.

For example, Dr. Vanderbilt’s Denison, in his recent study of the recombination of three coronaviruses, found that blocking an enzyme known as nsp14-ExoN in a mouse coronavirus caused a decrease in recombination events. This suggests that the enzyme is critical to the ability of coronaviruses to mix and match their RNA during replication.

Now, Dr. Denison and Sandra Weller, virologist at the University of Connecticut Medical School, asked whether this finding could treat people with Covid.

Certain antiviral drugs, like remdesivir, fight infection by acting as RNA bait that speeds up the viral replication process. But these drugs don’t work as well as some coronaviruses would have hoped. One theory is that the enzyme nsp14-ExoN removes the errors caused by these drugs and thus saves the virus.

Dr. Denison and Dr. Among other things, Weller are looking for drugs that block the activity of nsp14-ExoN and allow remdesivir and other antiviral agents to work more effectively. Dr. Weller compares this approach to cocktail therapies for HIV, which combine molecules that act on different aspects of virus replication. “We need combination therapy for coronavirus,” she said.

Dr. Weller notes that coronaviruses share nsp14-ExoN, so a drug that successfully suppresses it can work against more than just SARS-CoV-2. You and Dr. Denison are still in the early stages of drug discovery and are testing various molecules in cells.

Other scientists see potential in this approach not only to make drugs like remdesivir work better, but also to prevent the virus from correcting one of its replication errors.

“I think it’s a good idea,” said Dr. Goldstein, “because you would drive the virus into what is known as a ‘failure catastrophe’ – basically it would mutate so severely that it is fatal to the virus.”