Report: FBI was watching bunker hostage-taker the whole time

Federal Bureau of Investigation negotiators were watching Jimmy Lee Dykes, 65, "the whole time" as they prepared to enter the bunker where Dykes was holding a 5-year-old boy hostage, CBS News reported in its Monday evening broadcast.

Officials rescued the boy, named Ethan, early Monday evening in a surprise raid that left Dykes dead, ending a nearly weeklong standoff that began after Dykes boarded a bus and killed a bus driver before taking the boy to his underground bunker.

Citing unnamed federal sources, CBS News reported that the FBI rescue team created two diversions to distract Dykes before they entered the bunker from the top.

Officials said at a news conference that negotiations had deteriorated over the past 24 hours and that they had seen Dykes with a gun inside the bunker.

“At this point, FBI agents, fearing the child was in imminent danger, entered the bunker and rescued the child," Stephen E. Richardson, the special agent in charge of the FBI’s office in Mobile, Ala., said at a nationally televised news conference.

Officials did not go into further detail at the news conference, promising more information soon.

CBS News reported that officials had lowered a camera into the Dykes' bunker and "had eyes on him the whole time."

Dykes attacked the school bus a day before he was to appear in local court to answer charges of menacing a neighbor. According to residents of Midland City, Dykes was a fierce presence, firing shots at people and beating to death a dog that trespassed on his property.

Authorities maintained contact with Dykes through a 4-inch PVC pipe through which medicine was sent into the underground shelter, built by Dykes. Ethan was said to have a form of autism.

Michael Muskal contributed to this report.

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Navy's Next-Gen Binoculars Will Recognize Your Face

Take a close look, because the next generation of military binoculars could be doing more than just letting sailors and soldiers see from far away. The Navy now wants binoculars that can scan and recognize your face from 650 feet away.

That’s according to a Jan. 16 contract announcement from the Navy’s Space and Naval Warfare Systems Command, which is seeking a “Wireless 3D Binocular Face Recognition System.” During a testing period of 15 months, the plan is to improve “stand-off identification of uncooperative subjects” during daylight, using binoculars equipped with scanners that can read your mug from “100 to 200 meters” away, or about 328 to 650 feet. After scanning your mug, the binoculars then transmit the data to a database over a wireless network, where the data is then analyzed to determine a person’s identity. The no-bid contract, for an unspecified amount of money, went to California biometrics firm StereoVision Imaging.

“High level, it’s a surveillance and identification system,” Greg Steinthal, StereoVision’s president, tells Danger Room. “It’s using the ubiquitous binocular for real-time identification. The data point here is that this is to be used to add objectivity to an operation that’s highly subjective. So this is not intended for kinetic action to go arrest or detain someone. It’s more a tool to put other eyes on him or her.”

It helps that the technology — at least in a more limited form — already exists. StereoVision has developed a face-recognizing binocular system called 3DMobileID, with a maximum distance of around 328 feet, or 100 meters. “You have an unfair advantage,” the company touts in one promotional video, showing images of a human face being scanned at a distance, before the background is stripped out for a blue screen and then matched up to a database.

Depending on how well the binoculars work — and there’s reason to be cautious — it could give the Navy the ability to take advanced facial recognition into a much more portable and long-distance version than many current systems. Facebook uses the technology to match faces when users upload new photos. Google has its own version as well for its its Picasa photo service, and Apple has been researching face recognition as a way to unlock smartphones. (There are apps for iOS that do this, too.)

But the ranges on most systems also tend to max out at a few feet. For the military, that can be dangerous. Close-range biometric scanners (iris scanners are currently used by soldiers in Afghanistan) can pose a danger to the operator, as a person walking up to have their features scanned from a few inches away could be preparing to detonate an explosive vest. And what if a person happens to be on the move, or is bobbing and weaving through a crowd? That can render the scanners ineffective. Once upon a time, many face scanners also depended on the relatively crude practice of scanning 2-D images of the human face, which are an imprecise method when there are varying lighting conditions.

But the key to solving many of these problems could be a simple upgrade: StereoVision’s system scans in 3-D. When the system first scans you, it creates a 3-D model of your face instead of a 2-D image. That allows the system to isolate your face from a crowd, sharpen the image — which boosts the range — and then compares the image to a database. A filter also adjusts for varying degrees of light by smoothing out light across the face into a uniform pattern.

Now for the flaws in the system. The binoculars are not intended to work at night, and have difficulty scanning faces in twilight. When the binoculars can’t draw an image, it gives off a an audible beep to the operator, which is helpful. Otherwise, the process takes “about five to 10 seconds,” says Steinthal.

It’s also less effective when a subject is on the move. “[It] depends on how fast the target is walking,” Steinthal says. “We’re at walking, one-and-half meters per second. Somebody running? We’re not going to be able to do that right now.”

The concept of binoculars that scan and identify is also — perhaps unnervingly — not limited to the military. For one, StereoVision’s binoculars were developed in part with a $409,226 contract from the National Institute of Justice, and face scanners are a popular research topic for the FBI more broadly.

The FBI is spending $1 billion on a program called Next Generation Identification based around developing face scanners and combining the technology with other biometrics like the iris, voice, and fingerprints. A static face recognition system has also been installed at Toucumen International Airport in Panama City that can scan travelers’ faces and match them to criminal databases maintained by the FBI and Interpol. The Los Angeles County Sheriff’s Department and the San Diego Police Department have also tested out the binoculars, according to Steinthal, and are intended there for gang enforcement units and even to track “celebrity stalkers” in the L.A. area. Maybe if the FBI wants its special agents to also have some pretty far-out binoculars too, it should take a peek.

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For “Life of Pi,” the secret to its sound is in the silence

LOS ANGELES (TheWrap.com) – Ang Lee‘s “Life of Pi” was a famously difficult movie to pull off, a philosophical and spiritual journey featuring a young protagonist (don’t work with kids) stranded on the open sea (don’t work on water) with his only companion, a Bengal tiger named Richard Parker (don’t work with animals).

Throw in a beloved bestselling book whose devoted fans would be comparing the adaptation to the novel, extensive special effects that included a menagerie of largely CG animals, and Lee’s decision to shoot in 3D for the first time, and only the truest of true believers would have dared suggest that the movie would end up an international hit with grosses approaching $ 450 million, and a critical favorite with 11 Oscar nominations, including Best Picture and both sound categories.

For Oscar nominated sound mixers Doug Hemphill, Ron Bartlett and Drew Kunin, “Life of Pi” was both a technical challenge and a spiritual journey – as Hemphill termed it, “one of the most beautiful mixing experiences I’ve ever had.” Hemphill and Bartlett spoke to TheWrap about sound, silence and the particular challenges of an impossible movie that turned out to be possible after all.

What was your basic approach to the sound mix on “Life of Pi?”

Doug Hemphill: It was all based on the tacit understanding that the sound reflected Pi’s inner life and the arc of the story. That was our roadmap, but since Ang is incredibly creative, we took chances here and there and went to different places. And the way I always work, I try to stay in the audience. It’s not a technical job to me. It’s a job of feeling emotions and participating in the film and the story, and responding with sound as if I was an audience member. Would I like to have quiet here? Would I like to have some sound that would help tell the story better? It’s just a million choices that are sometimes based on your instincts.

You talked about the quiet, and a lot of the movie takes place in a setting that seems very quiet: the open sea, particularly when it’s calm.

Hemphill: There are so many things going on in the film, and one of them is the Buddhist idea that you can’t have anything until you lose everything. Ang said to me, “Sometimes in film there’s a desire to fill in the quiet spaces with something, and I don’t want to do that.” He wanted to have that quiet, and let people think and absorb, as Pi was doing in the film. It takes confidence to be able to do that.

Ron Bartlett: There were moments in the film where we really went with a more sparse, isolated feel. Out in the middle of the ocean we purposely dialed some things back and didn’t fill the track up with sounds for story reasons. Pi’s abandoned, he’s alone, he’s totally isolated, and we didn’t want to wrap a lot of sound around him.

Hemphill: That’s a maxim that was used throughout “Life of Pi” in the track. It’s like a writer saying, “Let the readers finish the sentence and bring themselves into the story.” Certainly with sound and music, when you hold back a little it can be just right for the story, because it doesn’t crowd the audience.

I spoke to composer Mychael Danna, and he said at first he sometimes found himself trying to put too many ideas into the music. But he had to learn to dial it back, and simplify what he was doing.

Hemphill: The whole film is like that. It’s not a literal movie about including the sounds of everything you see. It’s about what is necessary to tell the story and leave breathing room. Mychael was definitely very conscious of that, and I think he wrote one of the most beautiful scores I’ve heard in a long time. I can’t tell you the effect that score had on us when we were working on it.

Bartlett: The music was really the heart and soul of the film, and it was a dream gig to mix that kind of score. The challenge was to make it the best I could, because I had so much respect for it.

Let’s talk about the sequence in the movie where Pi and Richard Parker find themselves on an island occupied by tens of thousands of meerkats, all of them chattering away.

Hemphill: We were just laughing about that last night. Ang said to Eugene Gearty, who did the sound design, “OK, you’ve got 100,000 meerkats in the movie, Eugene. What are you going to do?” And Eugene knew it had better be good. He was out recording meerkats until he probably became the world’s leading expert in meerkat vocalizations.

Bartlett: He used some great tricks with the sound design to make it feel like a crowd. And there are so many different emotions running through that sequence. Pi is elated, he wakes up with the sound of the water lapping, and now he’s got land and water and food and everything’s great. And then he find that something weird is going on. So many different emotions, all in one sequence.

Was it tricky to find just the right balance in a sequence like that?

Hemphill: Very. Volume changes, revealing things but leaving the audience enough room to dive into the story – all the little adjustments make such a big difference. I’ll give you another example: One of our biggest challenges was when Pi and Richard Parker are in the lifeboat and they’re dying, and the tiger’s head is in his lap, and Pi says, “Can you feel the rain?” We worked hard to get the flat, dead-sounding rain plops, and have that be very sparse and funereal. And with Richard Parker’s vocals, we made a very conscious choice not to have any growls, just labored breathing and wheezing.

As Ang said, Richard Parker has his head on Pi’s lap not because he’s his friend, but because he’s too weak to attack him.

Bartlett: Things were so exposed in the film that you had to have the exact right sound, the right level. Everything was magnified because of the sparseness at times. And then it would go the other direction, like the storm sequence or the shipwreck sequence, where you’re flooded with sounds. It goes from the sparsest raindrops to the hugest storm.

The two storms, though, play very differently onscreen.

Hemphill: Yeah. I’ve worked on a lot of movies with storm sequences, like “Master and Commander,” and the first storm sequence in “Pi” wasn’t a big action setpiece for me. It was about Pi being frightened and alone and separated from his family. So the storm had a real emotional content to me. It wasn’t about, “This is a Ferrari with the pedal to the metal.”

And for the second storm, we changed the paradigm. That storm was about Pi’s epiphany. Even though visually there was a huge storm, sonically it was the music that was telling the story and conveying the emotion. I was tasked with having a certain amount of what you saw in the soundtrack, because you see the storm. But what I chose to do was use filters to take frequencies out that would leave the music room and freedom to play, but still give the audience the sense of a storm under the music.

Bartlett: To rack focus, but respective of sound.

Hemphill: That’s what we do. To the layman I say, “You know how a cameraman racks focus to determine what you’ll be looking at? We do the same with sound.”

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Well: Expressing the Inexpressible

When Kyle Potvin learned she had breast cancer at the age of 41, she tracked the details of her illness and treatment in a journal. But when it came to grappling with issues of mortality, fear and hope, she found that her best outlet was poetry.

How I feared chemo, afraid
It would change me.
It did.
Something dissolved inside me.
Tears began a slow drip;
I cried at the news story
Of a lost boy found in the woods …
At the surprising beauty
Of a bright leaf falling
Like the last strand of hair from my head

Ms. Potvin, now 47 and living in Derry, N.H., recently published “Sound Travels on Water” (Finishing Line Press), a collection of poems about her experience with cancer. And she has organized the Prickly Pear Poetry Project, a series of workshops for cancer patients.

“The creative process can be really healing,” Ms. Potvin said in an interview. “Loss, mortality and even hopefulness were on my mind, and I found that through writing poetry I was able to express some of those concepts in a way that helped me process what I was thinking.”

In April, the National Association for Poetry Therapy, whose members include both medical doctors and therapists, is to hold a conference in Chicago with sessions on using poetry to manage pain and to help adolescents cope with bullying. And this spring, Tasora Books will publish “The Cancer Poetry Project 2,” an anthology of poems written by patients and their loved ones.

Dr. Rafael Campo, an associate professor of medicine at Harvard, says he uses poetry in his practice, offering therapy groups and including poems with the medical forms and educational materials he gives his patients.

“It’s always striking to me how they want to talk about the poems the next time we meet and not the other stuff I give them,” he said. “It’s such a visceral mode of expression. When our bodies betray us in such a profound way, it can be all the more powerful for patients to really use the rhythms of poetry to make sense of what is happening in their bodies.”

On return visits, Dr. Campo’s patients often begin by discussing a poem he gave them — for example, “At the Cancer Clinic,” by Ted Kooser, from his collection “Delights & Shadows” (Copper Canyon Press, 2004), about a nurse holding the door for a slow-moving patient.

How patient she is in the crisp white sails
of her clothes. The sick woman
peers from under her funny knit cap
to watch each foot swing scuffing forward
and take its turn under her weight.
There is no restlessness or impatience
or anger anywhere in sight. Grace
fills the clean mold of this moment
and all the shuffling magazines grow still.

In Ms. Potvin’s case, poems related to her illness were often spurred by mundane moments, like seeing a neighbor out for a nightly walk. Here is “Tumor”:

My neighbor walks
For miles each night.
A mantra drives her, I imagine
As my boys’ chant did
The summer of my own illness:
“Push, Mommy, push.”
Urging me to wind my sore feet
Winch-like on a rented bike
To inch us home.
I couldn’t stop;
Couldn’t leave us
Miles from the end.

Karin Miller, 48, of Minneapolis, turned to poetry 15 years ago when her husband developed testicular cancer at the same time she was pregnant with their first child.

Her husband has since recovered, and Ms. Miller has reviewed thousands of poems by cancer patients and their loved ones to create the “Cancer Poetry Project” anthologies. One poem is “Hymn to a Lost Breast,” by Bonnie Maurer.

Oh let it fly
let it fling
let it flip like a pancake in the air
let it sing: what is the song
of one breast flapping?

Another is “Barn Wish” by Kim Knedler Hewett.

I sit where you can’t see me
Listening to the rustle of papers and pills in the other room,
Wondering if you can hear them.
Let’s go back to the barn, I whisper.
Let’s turn on the TV and watch the Bengals lose.
Let’s eat Bill’s Doughnuts and drink Pepsi.
Anything but this.

Ms. Miller has asked many of her poets to explain why they find poetry healing. “They say it’s the thing that lets them get to the core of how they are feeling,” she said. “It’s the simplicity of poetry, the bare bones of it, that helps them deal with their fears.”

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Have you written a poem about cancer? Please share them with us in the comments section below.

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DealBook: Suit to Accuse S.&P. of Fraud in Mortgage Bond Ratings

The Justice Department, along with state prosecutors, plans to file civil charges against Standard & Poor’s Ratings Service, accusing the firm of fraudulently rating mortgage bonds that led to the financial crisis, people briefed on the plan said Monday.

A suit against S.&P. — expected to filed this week — would be the first the government has brought against the credit ratings agencies related to the financial crisis, despite continued questions about the agencies’ conflicts of interest and role in creating a housing bubble.

Several state prosecutors are expected to join the federal suit. The New York State attorney general is conducting a separate investigation, an official in that office said. The official declined to say whether New York State’s action involved other ratings agencies besides Standard & Poor’s.

Up until last last week, the Justice Department had been in settlement talks with S.&P., these people said. But the negotiations broke down after the Justice Department said it would seek a settlement in excess of “10 figures,” or at least $1 billion, these people said. Such an amount would wipe out the profits of S.&P.’s parent, the McGraw-Hill Company, for an entire year. McGraw-Hill earned $911 million last year.

During settlement negotiations, the Justice Department held out the threat of a criminal case against S.&P., the people said. Ultimately, the government plans to bring a civil suit, which has a lower burden of proof than a criminal case.

The case is expected to be brought in California, these people said. The state suffered disproportionately during the housing bubble, and the government is hoping the venue will yield more sympathetic jurors.

The case is focusing on about 30 collateralized debt obligations, an exotic type of mortgage security. According to S&P, the mortgage securities were created in 2007 at the height of the housing boom.

Prosecutors, according to the people, have uncovered troves emails by S&P, employees, which the government considers damaging. Portions of those emails are likely to be disclosed in the government’s complaint against S&P, these people said.

In a statement on Monday, S.&P. said it had received notice from the Justice Department over a pending lawsuit. The ratings agency argued any such legal action would be baseless, since it downgraded plenty of mortgage-backed investments, including in the two years leading up to the financial crisis. It also contended that other observers of the debt markets, including government officials, believed at the time that any problems within the housing sector could be contained.

“A D.O.J. lawsuit would be entirely without factual or legal merit,” the agency said in its statement. “With 20/20 hindsight, these strong actions proved insufficient – but they demonstrate that the D.O.J. would be wrong in contending that S.&P. ratings were motivated by commercial considerations and not issued in good faith.”

Shares of McGraw-Hill closed down nearly 14 percent on Monday, at $50.30.

Mary Williams Walsh contributed reporting.

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Medical clinic workers struggle with burnout

Every day after work, Sandeep Lehil changes out of her lab coat and blue scrubs and sits cross-legged on a large, black pillow in her airy, quiet Los Feliz apartment. She takes two deep breaths and tries not to think about the patients she so desperately wants to help.

She pushes out thoughts of the man with heart problems who left her exam room in an ambulance. And the patient who walked out when she told him his tests indicated he could have HIV. And the woman who Lehil fears is addicted to pain pills.

"Meditation is the only thing that keeps me sane," said Lehil, a nurse practitioner in South Los Angeles. "It's like clearing your head of the anxieties and troubles you've had that day."

Lehil, 28, and others like her at community clinics throughout the U.S. are key players in the push to lower the nation's healthcare spending. They conduct physicals, refill medications and manage chronic diseases for low-income patients, providing the care necessary to keep them from requiring more costly medical treatment.

The jobs are demanding — providers spend long hours treating patients who have multiple chronic illnesses and often have gone years without care. Administrators have trouble finding enough doctors, nurse practitioners and physician assistants to staff their clinics.

That is expected to cause a major roadblock next year, when the bulk of the national healthcare reform law takes effect, aiming to help 30 million uninsured Americans gain coverage. In preparation, clinics — expected to get an influx of new patients — are stepping up recruitment and trying to hold on to the care providers they have. But burnout is common, and staff members often leave for less-stressful, higher-paying positions elsewhere.

"The workforce shortage is certainly one of the top challenges we are facing currently, and the expansion hasn't even occurred yet," said Carmela Castellano-Garcia, president of the California Primary Care Assn., which represents community clinics.

Lehil graduated in May from Johns Hopkins University with a master's degree in nursing and an idealistic goal: to make a difference in a medically underserved community. In July she started as a nurse practitioner at T.H.E. Clinic, a community health center in South Los Angeles.

Lehil said the work is fulfilling but draining, and busier than she ever could have anticipated. By the end of the week, she said, "it's almost like running on empty."

T.H.E. Clinic has eight full-time providers but needs 11. There are ongoing advertisements, and the clinic is "constantly fighting" for family practice providers, often competing with nearby centers, said human resources director Lilia Marin-Alvarez. To find new clinicians, T.H.E. Clinic and others rely heavily on the National Health Service Corps, which offers scholarships and loan repayment for those willing to work in underserved areas.

While still in school, Lehil saw an ad for T.H.E. Clinic. The name — To Help Everyone — immediately appealed to her. Lehil interviewed and, soon after, accepted a job offer. Now, Marin-Alvarez said she just has to make sure Lehil stays.

Lehil speaks quickly and walks with purpose. She wears Crocs, red-rimmed glasses and a loose ponytail, and she has several tattoos, including the infinity sign on her wrist and a flock of birds on her back. A stethoscope rests on her neck and two silver bangles on her wrist.

Raised in a tight-knit, professional Indian family in San Jose, Lehil attended UC Berkeley as an undergraduate and majored in public health. Her parents wanted her to be a doctor, but she decided to become a nurse practitioner, in part because medical school would have taken too long.

When Lehil started working at T.H.E. Clinic, she wondered how she could possibly see two dozen or more patients in a day. "It's not like they have one thing wrong with them," she said.

She took the time she needed, but it resulted in longer waits. When her patients became frustrated, Lehil just apologized and smiled.

During the first few weeks, she left each Friday with a dull headache, which she tried to shake off before Monday morning. To better manage the stress, Lehil started meditating an hour a day, at home and at the Zen Center of Los Angeles. She also moved to Los Feliz so she could take walks in Griffith Park in her free time.

On a Tuesday in the fall, Lehil arrives at work before 8 a.m. so she can get a head start on reviewing lab results and medications for the patients she expects to see that day. Hand sanitizer, a bottle of water and a clipboard filled with papers sit on her desk. She picks up a thermos and takes a sip. She wants to switch to green tea, but not today. She has 15 patients scheduled for this morning and 12 others this afternoon. "Today's a black tea day," she said.

For 10 hours, she moves quickly from one patient to the next, starting every visit the same way: "Hi, I'm Sandeep. I'm here to help you."

To save time each day, Lehil starts triaging, addressing her patients' most urgent health issues and saving the others for future visits. This morning, Mitchell Chambers, an expressive and friendly man, has come to see her. He has high blood pressure, is at risk for diabetes and has undergone open heart and gastric bypass surgeries. She notes all of it in his chart but focuses on one thing: his high cholesterol, which hasn't been treated.

She hands him a flier about nutrition and urges him to stop smoking and start exercising. She also writes him a prescription. Chambers, 50, makes a thumbs-up sign and promises to try to follow her instructions. "I'm in your hands," he says.

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Wired Science Space Photo of the Day: Wheatley Crater on Venus

Magellan radar image of Wheatley crater on Venus. This 72 km diameter crater shows a radar bright ejecta pattern and a generally flat floor with some rough raised areas and faulting. The crater is located in Asteria Regio at 16.6N,267E.

Image: NASA/GSFC [high-resolution]

Caption: NASA

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Country singer Gary Allan bests Grammy nominees for Billboard No. 1

LOS ANGELES (Reuters) – Country singer Gary Allan scored his first No. 1 album on the Billboard 200 chart on Wednesday, keeping Grammy-nominated favorites from the top spot.

Allan’s ninth studio album “Set You Free” sold 106,000 copies in its first week, according to figures from Nielsen SoundScan, garnering the singer his best sales week in his 17-year career.

The Billboard 200 is the album chart for all music genres.

Allan, 45, who is a staple within the country music scene, has notched three No. 1 albums in the Billboard country music chart.

The lead song from his new album “Every Storm (Runs Out of Rain)” started gaining chart popularity in September last year, and Allan’s label decided to push forward the release of the album from March of this year to January.

Allan told Reuters the song struck a chord among audiences with its message of hope. “This is a time when our country needs hope and I think that’s why it’s doing so well,” he said.

Allan’s album kept Grammy nominees The Lumineers at No. 2 with their debut self-titled record, which was released last April but has steadily been rising on the charts after the band picked up two Grammy nominations.

The official “2013 Grammy Nominees” compilation album, the only other new record in this week’s top 10, landed at No. 4 this week after selling 41,000 copies, coming behind the soundtrack for last year’s comedy “Pitch Perfect.”

Allan’s reign atop the Billboard 200 is likely to be short-lived, for Canadian pop phenomenon Justin Bieber’s latest album, “Believe Acoustic” is set to debut at the top next week, making Bieber the youngest artist to score five No. 1 albums.

On the Digital Songs chart, rapper Macklemore and Ryan Lewis’ “Thrift Shop” held onto the top spot for a third week, ahead of Taylor Swift’s “I Knew You Were Trouble” at No. 2 and Lil Wayne’s “Love Me” at No. 3.

Justin Timberlake’s “Suit & Tie,” his first new single in five years, dropped from No. 2 to No. 8 this week on the Digital Songs chart.

(Editing by Philip Barbara)

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Concerns About A.D.H.D. Practices and Amphetamine Addiction

Before his addiction, Richard Fee was a popular college class president and aspiring medical student. "You keep giving Adderall to my son, you're going to kill him," said Rick Fee, Richard's father, to one of his son's doctors.

VIRGINIA BEACH — Every morning on her way to work, Kathy Fee holds her breath as she drives past the squat brick building that houses Dominion Psychiatric Associates.

Matt Eich for The New York Times

MENTAL HEALTH CLINIC Dominion Psychiatric Associates in Virginia Beach, where Richard Fee was treated by Dr. Waldo M. Ellison. After observing Richard and hearing his complaints about concentration, Dr. Ellison diagnosed attention deficit hyperactivity disorder and prescribed the stimulant Adderall.

It was there that her son, Richard, visited a doctor and received prescriptions for Adderall, an amphetamine-based medication for attention deficit hyperactivity disorder. It was in the parking lot that she insisted to Richard that he did not have A.D.H.D., not as a child and not now as a 24-year-old college graduate, and that he was getting dangerously addicted to the medication. It was inside the building that her husband, Rick, implored Richard’s doctor to stop prescribing him Adderall, warning, “You’re going to kill him.”

It was where, after becoming violently delusional and spending a week in a psychiatric hospital in 2011, Richard met with his doctor and received prescriptions for 90 more days of Adderall. He hanged himself in his bedroom closet two weeks after they expired.

The story of Richard Fee, an athletic, personable college class president and aspiring medical student, highlights widespread failings in the system through which five million Americans take medication for A.D.H.D., doctors and other experts said.

Medications like Adderall can markedly improve the lives of children and others with the disorder. But the tunnel-like focus the medicines provide has led growing numbers of teenagers and young adults to fake symptoms to obtain steady prescriptions for highly addictive medications that carry serious psychological dangers. These efforts are facilitated by a segment of doctors who skip established diagnostic procedures, renew prescriptions reflexively and spend too little time with patients to accurately monitor side effects.

Richard Fee’s experience included it all. Conversations with friends and family members and a review of detailed medical records depict an intelligent and articulate young man lying to doctor after doctor, physicians issuing hasty diagnoses, and psychiatrists continuing to prescribe medication — even increasing dosages — despite evidence of his growing addiction and psychiatric breakdown.

Very few people who misuse stimulants devolve into psychotic or suicidal addicts. But even one of Richard’s own physicians, Dr. Charles Parker, characterized his case as a virtual textbook for ways that A.D.H.D. practices can fail patients, particularly young adults. “We have a significant travesty being done in this country with how the diagnosis is being made and the meds are being administered,” said Dr. Parker, a psychiatrist in Virginia Beach. “I think it’s an abnegation of trust. The public needs to say this is totally unacceptable and walk out.”

Young adults are by far the fastest-growing segment of people taking A.D.H.D medications. Nearly 14 million monthly prescriptions for the condition were written for Americans ages 20 to 39 in 2011, two and a half times the 5.6 million just four years before, according to the data company I.M.S. Health. While this rise is generally attributed to the maturing of adolescents who have A.D.H.D. into young adults — combined with a greater recognition of adult A.D.H.D. in general — many experts caution that savvy college graduates, freed of parental oversight, can legally and easily obtain stimulant prescriptions from obliging doctors.

“Any step along the way, someone could have helped him — they were just handing out drugs,” said Richard’s father. Emphasizing that he had no intention of bringing legal action against any of the doctors involved, Mr. Fee said: “People have to know that kids are out there getting these drugs and getting addicted to them. And doctors are helping them do it.”

“...when he was in elementary school he fidgeted, daydreamed and got A’s. he has been an A-B student until mid college when he became scattered and he wandered while reading He never had to study. Presently without medication, his mind thinks most of the time, he procrastinated, he multitasks not finishing in a timely manner.”

Dr. Waldo M. Ellison

Richard Fee initial evaluation

Feb. 5, 2010

Richard began acting strangely soon after moving back home in late 2009, his parents said. He stayed up for days at a time, went from gregarious to grumpy and back, and scrawled compulsively in notebooks. His father, while trying to add Richard to his health insurance policy, learned that he was taking Vyvanse for A.D.H.D.

Richard explained to him that he had been having trouble concentrating while studying for medical school entrance exams the previous year and that he had seen a doctor and received a diagnosis. His father reacted with surprise. Richard had never shown any A.D.H.D. symptoms his entire life, from nursery school through high school, when he was awarded a full academic scholarship to Greensboro College in North Carolina. Mr. Fee also expressed concerns about the safety of his son’s taking daily amphetamines for a condition he might not have.

“The doctor wouldn’t give me anything that’s bad for me,” Mr. Fee recalled his son saying that day. “I’m not buying it on the street corner.”

This article has been revised to reflect the following correction:

Correction: February 3, 2013

An earlier version of a quote appearing with the home page presentation of this article misspelled the name of a medication. It is Adderall, not Aderall.

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The Media Equation: At FX, a Playbook That Gives Its Series Free Rein

The FX channel can be a rugged place, full of prostitutes, charlatans, spies, bikers and thugs. But it’s a nice place if you are trying to make a show.

How come? Because the guy who is greenlighting the shows, John Landgraf, the president and general manager of FX Networks, spent many years making them himself, or at least trying to make them.

He learned early on that the guidance he received from the networks was not going to lead to remarkable television.

“I always got the same dumb note from the networks. ‘Can you make the character more likable?’ ” he recalled last week in a phone interview. “Not make them more exciting, more compelling, more interesting, no, it was always make them more likable.”

Mr. Landgraf, who worked as a network executive at NBC during the ’90s and had a hand in “Friends,” “ER” and “The West Wing,” went on to form a television production company with Danny DeVito. He had 53 projects in development from 1999 to the early 2000s — nine that became pilots, six that were made into shows and one, “Reno 911!” that made it beyond a single season, albeit on Comedy Central.

“It was crazy-making,” he said.

He became convinced that network television was broken — that in an effort to make characters more likable, the industry made television that not anyone much liked.

Mr. Landgraf’s turn on the other side of the table came in 2004 when he became president of FX, the basic cable channel owned by News Corporation. He inherited “Nip/Tuck” and “The Shield,” but they were aging and he needed to replace them, so he went on a spree — of saying yes.

“We wanted to adapt our process to what the creatives needed and have a more efficient outcome,” he said. “We write a check to fund the production and they send us the shows. By trusting the people you work with — sharing the authority — and being willing to fail, things have gone pretty well for us.”

He said yes to a lot of dark and spicy fare — it is not as lurid as pay cable can be, but it is only technically less naked. And it is clearly intended for adults.

With that in mind, he said yes to the comedian Louis C.K., who had been flailing on HBO and then tried to come up with something that networks would swallow. In exchange for producing a pilot for almost nothing, Louis C.K. had complete freedom. The result was a brutally funny mash-up of sitcom and stand-up that clicked for FX.

He also said yes to “Archer,” an animated period-spy series — nothing about those three things says television gold — about an agent with high testosterone and a low I.Q. It contains some of the most remarkable, densely funny writing on television.

“It’s Always Sunny in Philadelphia” has improbably lived, going into syndication with, you guessed it, the least likable group of characters you could conjure. Last week, I happened to see the comedian W. Kamau Bell in New York and thought, this guy is funny, somebody should give him a show. Somebody already had, on FX.

Mr. Landgraf spent money on “Justified,” a Southern gothic inspired by Elmore Leonard that featured a laconic, trigger-happy marshal chasing charismatic, speechifying villains who belong in the television pantheon. He gave the go ahead to “American Horror Story,” a lurid, scary weekly trip to the dark side. And he said yes to “Sons of Anarchy,” a wildly popular drama that would be described, in industry speak, as Hamlet on Harleys.

Mr. Landgraf is not just a yes man. He has shunned reality shows because, as he succinctly explained, “I don’t like them.”

He has had his failures, including “Dirt,” “The Riches” and “Terriers.”

“In our industry, shows are ‘not renewed,’ never ‘canceled.’ ” he said. “I’ve canceled shows and I think you have to own those failures to learn from them.”

Mr. Landgraf is treasured by writers on the beat because, in an industry built on euphemism, he says what he thinks.

It’s not that the rest of the industry lacks taste, it’s just most are so busy living in fear that a creative risk seems out of the question.

E-mail: carr@nytimes.com;

twitter.com/carr2n

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