January 22, 2026

AMERICAN LIVES MATTER:

Emerging Evidence Provides Basis for Opening Investigation of ICE Agent Who Killed Renee Good (Julia Gegenheimer, January 22, 2026, Justr Security)

Since Good’s shooting, facts have incrementally emerged that point to both the excessiveness of Agent Ross’s use of force and to his intent. Exhaustive reporting has helped establish many of the circumstances surrounding the Jan. 7 shooting, including through a multi-angle, step-by-step analysis of the incident. It’s a good start in determining whether the force was unreasonable. The fact that agents had been able to pass by Good’s vehicle; that Good was clearly turning her steering wheel and vehicle away from the agents at the time shots were fired; that there was a notable gap between Agent’s Ross’s body and the vehicle, at least at the time of the second and third shots; that he was the only agent on the scene to even attempt to use any kind of force—all indicate that resorting to deadly force was not reasonable under the circumstances. Prosecutors would, of course, want to test, corroborate, and build on that evidence through, among other things, ballistics analysis, complete autopsy and medical reports, and witnesses accounts. Definitively establishing where the agent was positioned when he fired the shot that, according to an independent medical pathologist’s report, struck the left side of Good’s head and likely killed her, will be critical.

The more difficult question, as in so many of these cases, is one of intent. Prosecutors must prove the agent’s thinking and motivation. To this end, there is evidence that Agent Ross did not view Ms. Good as an imminent physical threat. Multiple videos show, for instance, that Agent Ross’s own vehicle was able to get around Ms. Good’s SUV, that he chose to walk around the front of Ms. Good’s vehicle (thereby exposing himself to possible harm, and against DHS policy) with one hand occupied by a cell phone, and that, just prior to the shooting, Ms. Good told the agents, “I’m pulling out.” Other evidence suggests that Agent Ross may have shot because he felt annoyed or disrespected by Ms. Good and her partner, rather than out of fear for his safety. The former are improper motivations that would support § 242’s willfulness prong. From the outset, for example, videos show that Ms. Good and her partner stopped their SUV in the street and honked the horn repeatedly in apparent protest of the ICE agents. Additionally—and courtesy of the agent’s own cellphone video, which importantly provides a view of the incident from his perspective—we can hear Ms. Good say, “That’s fine dude, I’m not mad at you,” and her partner sarcastically tell Agent Ross to “go get yourself some lunch, big boy.” Perhaps giving a window into his irritation at these remarks or Ms. Good’s attempt to drive away, Agent Ross muttered after firing his weapon at her, “fcking btch.” He walked away from Ms. Good’s SUV, which had by that point crashed into a parked vehicle (a clear sign that Ms. Good was injured or dead), and gestured to someone else to “call 911.”

Together, these facts are more than enough to show the allegation that Agent Ross willfully used excessive force when he shot Ms. Good is a serious one. And because that allegation, if proven, would constitute a violation of federal law, it is wholly appropriate to open a formal investigation into the shooting. (Indeed, it is no wonder that an initial FBI review reportedly concluded that opening an investigation was justified.)

THE ONE STORY:

Where the Frontier Meets the Galaxy: The Western Genre and the Moral Imagination of Star Wars (Cole Burgett, 1/21/26, Christ and Pop Culture)

But more than set dressing, it’s the moral architecture of the Western that gives Star Wars its discernable spine. The best Westerns understand that wide open spaces don’t make life simpler. On the frontier, there’s nowhere to hide who you really are. A man’s character isn’t protected by institutions or excuses. Instead, it’s revealed whenever trouble rides into town. A rancher who refuses to bend to corruption, a gunman who finally hangs up his weapon, a sheriff who stands his ground when the rest of the town scatters—these traits define them more than the outcome of any gunfight or duel ever could.

Likewise, Star Wars is filled with moral clarity born from the same crucible. Han Solo stands right where the Western and the space opera overlap. He begins the classic wandering gun-hand, cut from the same cloth as L’Amour’s Lance Kilkenny or Hondo Lane, self-reliant, suspicious, interested only in profit. He’ll draw his blaster in a heartbeat. He shoots first. He’s the man who insists he “ain’t in this for your revolution.” But like so many of L’Amour’s protagonists, Han is not morally static. Western heroes often start self-serving but become protectors when faced with injustice that threatens people they’ve come to care about. Han’s arc sees him become something even more recognizably Western: a good man forged in a bad land.