COLUMBUS, Ohio (AP) — A former Ohio doctor who was fired before being found not guilty on murder charges in the deaths of 14 patients lost a defamation lawsuit against his former employers on Monday, after a judge stepped in for a jury on grounds the evidence presented by the defendants was incontrovertible.
Franklin County Common Pleas Judge Stephen McIntosh issued his directed verdict against former doctor William Husel, whose attorneys accused Michigan-based Trinity Health and Mount Carmel Health System in Columbus of orchestrating a campaign to destroy his reputation.
Husel was seeking more than $18 million from the health care companies.
His attorney, Adam Ford, said in a statement that Husel's legal team was disappointed that McIntosh would prevent the jury from making a decision in the case after weeks of evidence and testimony had been presented. He said issuing the directed verdict, a procedural move requested by the hospital, “effectively silences the voices of those who came seeking justice.”
“This is not the outcome that any reasonable person expected, nor is it one that reflects the strength of the evidence presented," he said. “We are evaluating all legal options, including appeal. This case has always been about more than one courtroom or one ruling. It is about truth, accountability, and the right of every individual to defend their name against false and damaging accusations.”
Mount Carmel issued a statement that said simply, “We are pleased with the judge’s decision.”
Mount Carmel Health System fired the doctor in 2018 after it concluded he had ordered excessive painkillers for about three dozen patients who died over several years.
He initially was charged with murder in 25 deaths in one of the biggest cases of its kind ever brought against a U.S. health care professional. Eleven counts were dismissed before trial.
Husel, now 49, maintained he was trying to help patients deal with their pain, sometimes in the last moments of their life, not speed up their deaths. Despite being found not guilty by a jury on murder charges in 2022, he permanently surrendered his medical license.
He filed multiple lawsuits against his former employer, accusing Trinity Health and Mount Carmel of defamation and malicious prosecution.
As part of the defamation lawsuit filed in 2019, Husel’s attorneys said Trinity Health repeatedly spread lies and false information to convince the public and law enforcement that Husel was a killer, even though health system officials knew that was not true.
“Obviously, these false allegations destroyed Dr. Husel’s life,” the lawsuit said. Husel gave up his medical license because his lawyers said that he knew the damage to his reputation would prevent him from working as a doctor.
In court documents filed two years ago, Husel said he had been unable to find work and was diagnosed with post-traumatic stress disorder and depression.
Trinity Health had asked a judge to toss the lawsuit, but a Franklin County judge ruled there was enough reason to move forward.
Husel, who worked in the intensive care unit, was charged in cases that involved the use of at least 500 micrograms of the powerful painkiller fentanyl. Prosecutors said ordering such dosages for nonsurgical situations indicated an intent to end lives.
His colleagues who administered the medications at Mount Carmel West Hospital in Columbus weren’t criminally charged, but the hospital said it fired 23 nurses, pharmacists and managers after its internal investigation and referred various employees to their respective state boards for disciplinary action.
The hospital reached settlements in multiple cases involving relatives of the patients who died.
Seewer reported from Toledo.
This story corrects the name of Husel's attorney from David Vermillion to Adam Ford.
FILE - Fired doctor William Husel, center, sits between his defense lawyers, Diane Menashe and Jose Baez, during a court hearing Wednesday, Aug. 28, 2019, in Columbus, Ohio. (AP Photo/Kantele Franko, File)
FILE - The main entrance to Mount Carmel West Hospital is shown on Jan. 15, 2019,in Columbus, Ohio. (AP Photo/Andrew Welsh Huggins, File)
FILE - Former critical care doctor William Husel, center, pleads not guilty to murder charges while appearing with defense attorney Richard Blake, right, in Franklin County Court on June 5, 2019, in Columbus, Ohio. (AP Photo/Kantele Franko, File)
NEW YORK (AP) — Ten years ago, Kim Gordon — a revolutionary force in the alternative rock band Sonic Youth, the ’80s New York no wave scene and the space between art and noise — debuted solo music. At the time, she was already decades into a celebrated, mixed-medium creative career.
The midtempo “Murdered Out” was her first single, where clangorous, overdubbed guitars met the unmistakable rasp of her deadpan intonations. It was a surprise from an experimentalist well-versed in the unexpected: The song took inspiration from Los Angeles car culture, and its main collaborator was the producer Justin Raisen, then best known for his pop work with Sky Ferreira and Charli XCX. Their partnership has continued in the decade since, and on March 13, Gordon will drop her third solo album, “Play Me,” announced Wednesday alongside the release of a hazy, transcendent single, “Not Today.”
“It was a happy accident,” she says of her continued work with Raisen. “In the beginning, I was somewhat skeptical of working with a producer and collaborator, really. But it’s turned out to be incredibly freeing.”
“Play Me” follows Gordon's critically lauded, beat-heavy 2024 album “The Collective,” a noisy body of work that featured oddball trap blasts. It earned her two Grammy nominations — a career first — for alternative music album and alternative music performance. Those were for the song “Bye Bye,” with its eerie, dissonant beat originally written for rapper Playboi Carti. For “Play Me,” Gordon reimagined the track for the closer, “Bye Bye 25!” She says it was the result of her thinking about the rap world, where revisiting and remixing is commonplace.
“I came up with the idea of using these words that Trump had sort of ‘banned’ in his mind,” she says of the new song's lyrics. (An example: “Injustice / Opportunity / Dietary guidelines / Housing for the future.” President Donald Trump’s administration associates the terms with diversity, equity and inclusion initiatives, which it has vowed to root out across the government.) For Gordon, because it became “more conceptual … the remake doesn’t seem as anxiety-provoking as the original.”
There is a connective spirit between “The Collective” and “Play Me” — a shared confrontation, propulsive production and songs that possess a keen ability to process and reflect the world around Gordon. “It does feel kind of like an evolution,” she says of this album next to her last. “It’s sort of a more focused record, and immediate.” The songs are shorter and attentive.
Or, to put it more simply: “I like beats and that inspires me more than melodies,” she says. “Beats and space.”
That palette drives “Play Me,” a foundation in which staccato lyricism transforms and offers astute criticism. Consider the title track, which challenges passive listening and the devaluation of music in the age of streaming. She names Spotify playlist titles, imagined genres defined by mood rather than music. “Rich popular girl / Villain mode” she speak-sings, “Jazz and background / Chillin' after work.”
“It's just representative of, you know, this era we're in, this culture of convenience,” she says. “Music always represented a certain amount of freedom to me, and it feels like that’s kind of been blanketed over.”
Sonically, it is a message delivered atop a '70s groove, placing it in conversation with an era unshackled from these digital technologies.
The title, too, “is playing off the sort of passive nature of listening to music,” she says, “But also it could be seen as defiant. Like, I dare you to play me.”
There's also the blown-out “Subcon,” which examines the world's growing billionaire class and their fascination with space colonialization in a period of economic insecurity. In the song, Gordon's lyrical abstractions highlight the absurdity, taking aim at technocrats.
“I find reality inspirational, no matter how bad it is,” she says. Where some artists might veer away from the news, Gordon tackles truth. “I’m not sure what music is supposed to be. So, I’m just doing my version of it.”
In the end, she hopes listeners are “somewhat thrilled by” the album.
“'This is the music that I’ve wanted to hear,’ kind of feeling. Does that sound egotistical? I don’t know,” she laughs. If it is, it is earned.
1. “Play Me”
2. “Girl with a Look”
3. “No Hands”
4. “Black Out”
5. “Dirty Tech”
6. “Not Today”
7. “Busy Bee”
8. “Square Jaw”
9. “Subcon”
10. “Post Empire”
11. “Nail Bitter”
12. “Bye Bye 25!”
Kim Gordon poses for a portrait in New York on Tuesday, Dec. 9, 2025. (Photo by Taylor Jewell/Invision/AP)
Kim Gordon poses for a portrait in New York on Tuesday, Dec. 9, 2025. (Photo by Taylor Jewell/Invision/AP)
Kim Gordon poses for a portrait on Tuesday, Dec. 9, 2025, in New York (Photo by Taylor Jewell/Invision/AP)
