Category: Мистецтво

SIEM REAP, Cambodia — A baby monkey struggles and squirms as it tries to escape the man holding it by the neck over a concrete cistern, repeatedly dousing it with water.

In another video clip, a person plays with the genitals of a juvenile male macaque sitting on a limestone block from an ancient temple to get it excited for the camera.

The abuse of monkeys at the Angkor UNESCO World Heritage Site in northwestern Cambodia is not always so graphic, but authorities say it is a growing problem as people look for new ways to draw online viewers to generate cash.

“The monkey should be living in the wild, where they are supposed to be living, but the monkey nowadays is being treated like a domestic pet,” said Long Kosal, spokesperson for APSARA, the Cambodian office that oversees the Angkor archaeological site.

“They’re making the content to earn money by having the viewers on YouTube, so this is a very big issue for us.”

APSARA has few tools itself to stop the YouTubers from filming in general, but has opened an investigation with the Ministry of Agriculture to collect evidence for legal action against the most serious abusers — who are rarely on camera themselves, Long Kosal said.

“If we can build a case, they will be arrested for sure,” he said. “Any animal abuser will be seriously punished by law in Cambodia.”

YouTube, Facebook and other sites remove the videos with graphic content, but scores of other clips of cute monkeys jumping and playing remain, generating thousands of views and subscribers.

Just making those videos involves very close interaction with the monkeys, however, which authorities and animal-rights activists say creates a host of other problems, both for the macaques and people visiting one of Southeast Asia’s most popular tourist sites.

On a recent day outside Angkor’s famous 12th-century Bayon Temple, at least a dozen YouTubers, all young men, crowded around a small group of long-tailed macaques, pushing in close to get shots of a mother with a baby on her back and tracking her everywhere she moved.

The wild monkeys feasted on bananas tossed to them by YouTubers and drank from plastic bottles of water. One young macaque briefly amused itself with half-eaten neon-green popsicle discarded at the side of the path, before dropping it to move on to a banana.

A blue-shirted APSARA warden looked on but those filming were unfazed, illustrating the main problem: Simply taking video of monkeys is OK, even though feeding them is frowned upon. At the same time, it’s making them dependent upon handouts, and the close interaction with humans means they’re increasingly becoming aggressive toward tourists.

“The tourists carry their food, and they would snatch the food,” Long Kosal said, flipping through multiple photos on his phone of recent injuries caused by the macaques. “If the tourists resist, they bite and this is very dangerous.”

The search for food from tourists also draws the monkeys from the surrounding jungle in to the ancient sites, where they pull away pieces of the temples and cause other damage, he added.

Tourist Cadi Hutchings made sure to keep her distance from the monkeys, after being warned by her tour guide of the increasing risk of being bitten.

“What they want is your food, but you also need to appreciate that there needs to be a boundary between human intervention in nature,” the 23-year-old from Wales said. “It’s obviously a great thing that so many tourists come because it’s such a lovely place, but at the same time, you have to be careful that with more and more people … the monkeys don’t get too acclimatized.”

Many other tourists, however, stopped to take their own photos and videos — some holding out bananas to draw them closer — before heading to the nearby temple site.

YouTuber Ium Daro, who started filming Angkor monkeys about three months ago, followed a mother and a baby along a dirt path with his iPhone held on a selfie stick to get in close.

The 41-year-old said he hadn’t seen any monkeys physically abused, and that he didn’t see a problem with what he and the others were doing to make a living.

“The monkeys here are friendly,” he said. “After we take their pictures we give them food, so it is like we pay them for them giving us the chance to take their picture.”

As he spoke, a young macaque scrambled up the leg of an onlooker, trying — unsuccessfully — to grab a plastic bottle of water out of his pocket.

One YouTuber said he had started filming monkeys during the COVID-19 pandemic after the numbers of tourists plummeted, making it impossible to earn a living as a tuk-tuk driver.

Daro said he was looking for a way to supplement his income as a rice vendor, and that he’s too new at it to have realized many returns.

Many, like Phut Phu, work as salaried employees of YouTube page operators.

The 24-year-old said he started filming monkeys 2 1/2 years ago when he was looking for a job in the open air to help him deal with a lung problem.

He’s generally at it daily from 7 a.m. to 5 p.m., earning $200 a month — equivalent to a Cambodian minimum-wage job — and said he hoped authorities wouldn’t try and put an end to it.

“I need these monkeys,” he said, holding a Nikon Coolpix camera with an extreme zoom that his employer provided, the same model most of the YouTubers were using.

With the difficulties involved in identifying and catching those responsible for the physical abuse of the monkeys, coupled with the draw of easy money through YouTube videos, Long Kosal said APSARA’s task is a tough one.

“This is the problem for us,” he said. “We need to find solid reasons which we can use against them not to make content by abusing the monkeys.”

For Nick Marx, director of wildlife rescue and care for the Wildlife Alliance — which implements conservation programs across Southeast Asia and is involved in releasing wildlife back into Angkor — the answer is simple, though perhaps equally as elusive.

“The biggest problem is these [videos] are generated to make money,” he said in an interview from Phnom Penh. “If people that don’t like this kind of thing would stop watching them, that would really help solve the problem of abuse.”
…

new orleans — Clarence “Frogman” Henry, who was one of New Orleans’ best known old-time R&B singers and scored a hit at age 19 with “Ain’t Got No Home,” has died. He was 87.

Henry died Sunday night, the New Orleans Jazz and Heritage Foundation said on social media. It didn’t give the cause of death.

Henry, who had been scheduled to perform at the New Orleans Jazz & Heritage Festival later this month, imitated the voice of a frog in “Ain’t Got No Home.” It was a hit in 1956 and later brought Henry renewed fame when it was featured on the “Forrest Gump” and “Mickey Blue Eyes” soundtracks.

He credited disc jockey Poppa Stoppa, whose real name was Clarence Hayman, as coming up with the nickname the “Frogman,” which mimicked Fats Domino’s moniker the “Fatman.”

By 1958, Henry’s popularity waned, and he took to playing nightclubs on Bourbon Street.

“I thought the sun would shine. I thought my record would always stay out there and stay on the top, but in 1958, the rain came and bring me back to New Orleans,” Henry told The Associated Press in 2003.

But in 1960, a new song, “I Don’t Know Why But I Do” by Cajun songwriter Bobby Charles and arranged by Allen Toussaint, brought Henry renewed success.

With the Bill Black Combo and the Jive Five, he opened for the Beatles for 18 dates in 1964 during their first U.S. trip and toured extensively, from Scotland to New Zealand.

In Louisiana, Henry remained popular. He also was one of the few Black New Orleans musicians to cross over into Cajun musical circles.

Henry, who was born in New Orleans on March 19, 1937, started playing the piano at 8, taking up lessons his sister had disliked. He worked for his father until he was 15, often for no money.

He played the trombone and piano in his high school band and later joined The Toppers, traveling around southern Louisiana before making it big.

“When I was going to school, I wanted to be Fats Domino, Professor Longhair, and I would wear a wig with two plaits and call myself Professor Longhair,” Henry told the AP. “I like the Fats Domino rhythm, but I play my own chords and my own style.”

Henry’s national fame faded but he remained popular in Louisiana. He was a Bourbon Street fixture until 1981, when he retired from the grueling club circuit. But he never gave up music and continued to be an annual crowd pleaser at the Jazz & Heritage Festival.

Funeral arrangements are pending at the Murray Henderson Funeral Home.
…

New York — “Godzilla x Kong: The New Empire” easily swatted away a pair of challengers to hold on to the top spot at the box office for the second week in a row, according to studio estimates Sunday.

After its above-expectations $80 million launch last weekend, the MonsterVerse mashup brought in $31.7 million over its second weekend, a 60% drop from its debut.

The Warner Bros. and Legendary Pictures release, directed by Adam Wingard, has thus far outperformed any of the studio’s recent monster films except for 2014’s “Godzilla.”

But with $361.1 million worldwide in two weeks, “Godzilla x Kong” could ultimately leapfrog the $529 million global haul of 2014’s “Godzilla.” The latest installment, in which Godzilla and Kong team up, cost about $135 million to produce.

“Godzilla x Kong” extended its box-office reign as another primate-themed movie arrived in theaters. Dev Patel’s “Monkey Man,” an India-set revenge thriller released by Universal Pictures, opened in 3,029 North American theaters with an estimated $10.1 million.

That marked a strong debut for Patel’s modestly budgeted directorial debut in which he stars in a bloody, politically charged action extravaganza. “Monkey Man,” which cost about $10 million to make, was dropped by its original studio, Netflix, after which Jordan Peele and his Monkeypaw Productions swooped in.

The weekend’s other new wide release, “The First Omen,” from Disney’s 20th Century Studios, struggled to make a big impact with moviegoers. It came in fourth with an estimated $8.4 million in ticket sales in 3,375 theaters, while collecting an additional $9.1 million overseas. The R-rated horror film, which cost about $30 million to make, is a prequel to the 1976 Richard Donner-directed original starring Gregory Peck and Lee Remick.

This version, directed by Arkasha Stevenson and starring Nell Tiger Free, Tawfeek Barhom and Bill Nighy, follows 2006’s “The Omen,” which opened to $16 million and ultimately grossed $119 million.

The tepid opening for “The First Omen” allowed Sony’s “Ghostbusters: Frozen Empire” to take third place with $9 million in its third weekend of release. The sci-fi comedy sequel has collected $88.8 million domestically and $138 million worldwide.

Warner Bros.’ “Dune: Part Two” continues to perform strongly. It added $7.2 million in its sixth week, dipping just 37%, to bring its domestic total to $264 million.

One of the week’s biggest performers was in China, where Hayao Miyazaki’s Oscar-winning “The Boy and the Heron” landed in theaters. The acclaimed Japanese anime is setting records for a non-Chinese animated film. After opening Wednesday, its five-day total surpassed $70 million, a new high mark for Miyazaki and Studio Ghibli.

Estimated ticket sales are for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Godzilla x Kong: The New Empire,” $31.7 million.

2. “Monkey Man,” $10.1 million.

3. “Ghostbusters: Frozen Empire,” $9 million.

4. “The First Omen,” $8.4 million.

5. “Kung Fu Panda 4,” $7.9 million.

6. “Dune: Part Two,” $7.2 million.

7. “Someone Like You,” $3 million.

8. “Wicked Little Letters,” $1.6 million.

9. “Arthur the King,” $1.5 million.

10. “Immaculate,” $1.4 million.
    …

CHARLESTON, W.Va. — Sophomore Christian Adams expected he would be studying Chinese when he enrolled at West Virginia University, with a dream of working in labor or immigration law.

He didn’t foresee switching his major to politics, a change he made after West Virginia’s flagship university in September cut its world language department and dozens of other programs in subjects such as English, math and music amid a $45 million budget shortfall.

And he certainly didn’t expect to be studying — or teaching fellow students — about community organizing.

But the cuts, denounced as “draconian and catastrophic” by the American Federation of Teachers, catalyzed a different kind of education: Adams is co-founder of The West Virginia United Students’ Union. The leading oppositional force against the cuts, the union organized protests, circulated petitions and helped save a handful of teaching positions before 143 faculty and 28 majors ultimately were cut.

Disappointed, they say their work is far from done. Led by many first-generation college students and those receiving financial aid in the state with the fewest college graduates, members say they want to usher in a new era of student involvement in university political life.

“Really, what it is for WVU is a new era of student politics,” Adams said.

The movement is part of a wave of student organizing at U.S. colleges and universities centering around everything from the affordability of higher education and representation to who has access to a diverse array of course offerings and workplace safety concerns.

The university in Morgantown had been weighed down financially by enrollment declines, revenue lost during the COVID-19 pandemic and an increasing debt load for new building projects. Other U.S. universities and colleges have faced similar decisions, but WVU’s is among the most extreme examples of a flagship university turning to such dramatic cuts, particularly to foreign languages.

The union called the move to eliminate 8% of majors and 5% of faculty a failure of university leadership to uphold its mission as a land-grant institution, charged since the 1800s with educating rural students who historically had been excluded from higher education. A quarter of all children in West Virginia live in poverty, and many public K-12 schools don’t offer robust language programs at a time when language knowledge is becoming increasingly important in the global jobs market.

As the school continues to evaluate its finances, the union plans to keep a close eye on its budget, mobilize against any additional proposed cuts and prepare alternative proposals to keep curriculum and faculty positions in place.

Another key goal is monitoring and influencing the school’s search for its new president after university head E. Gordon Gee retires next year. Gee, the subject of symbolic motions from a faculty group that expressed no confidence in his leadership, said last year the curriculum cuts came at a time of change in higher education, and that WVU was “leading that change rather than being its victim.”

Higher education nationwide has become “arrogant” and “isolated,” he said, warning that without change, schools face “a very bleak future.”

Union Assembly of Delegates President and Co-Founder Matthew Kolb, a senior math major, said his group doesn’t want a new president who believes running the school as a corporate or business entity is the only option for getting things done properly.

“We know, when push comes to shove, the results of that are 143 faculty getting shoved off a cliff with one vote,” he said.

Adams, a north central West Virginia native who was the first in his family to attend college immediately after high school, said he could transfer to another institution and continue his studies in Chinese. But much of the reason he chose WVU was because of a commitment to the state and a desire to improve its socioeconomic outlook.

“A lot of West Virginians feel trapped in West Virginia and feel like they have to leave — not a lot of people choose to stay here,” Adams said. “I made the conscious decision to go to WVU to stay here to help improve my state.”

The cuts meant reaffirming that commitment, “despite basically being told by my state’s flagship university that, ‘Your major is irrelevant, it doesn’t matter, it’s not worth our time or money to teach.’”

Student union organizations have existed for hundreds of years worldwide. Commonly associated in the U.S. with on-campus hubs where students access dining halls, club offices and social events, in the United Kingdom the union also takes on the form of a university-independent advocacy arm lobbying at the institutional and national level.

Members say they envision the West Virginia United Students’ Union similar to those in the U.K., and it’s a concept they want to help grow.

That has meant a lot of work behind the scenes, strategizing to keep students interested and engaged and building relationships with the university campus workers union, student government and other organizations.

That work with the union helped keep up student morale as they watched faculty scramble to find new jobs and rewrite curriculum, student Felicia Carrara said.

An international studies and Russian studies double major from North Carolina, Carrara said she and many of her peers chose West Virginia University because it was affordable.

“The fact that we would now have to pivot to try and find the scholarships and other money to be able to afford an education anywhere else, or just not get a degree at all or get a degree that’s really bare bones. It’s just really disheartening,” she said.

“When you come to higher ed, you think things are going to be better than they were in high school and in middle school,” she said. “And it’s very sad finding out that they’re not.”

Andrew Ross, a senior German and political science double major, will be the last graduate to major in the language.

A 31-year-old nontraditional student who transferred to WVU in 2022 after earning an associate’s degree, Ross learned about the proposed cuts days after he returned home from a summer program in Germany he attended with the help of a departmental scholarship.

Ross, now the student union’s assembly of delegates vice president, said the cuts “felt like getting slapped in the face.” The university told him to drop the German major. He’s proud of his effort to finish the degree after twists and turns, but it’s bittersweet.

“In some ways and it makes me sad because I hope there isn’t someone who is still growing up that can’t have this experience — we all deserve it,” he said. “This university isn’t just failing me, it’s failing the state.”
…

PHILADELPHIA — He surveyed the Arizona crowd that had paid to catch a wrestling glimpse of the planet’s mightiest heavyweight, as measured in both box-office heft and ink-stained muscles. Then The Rock let the abuse fly. And as with so many public outbursts these days, attacking his opponents wasn’t enough. He had to insult the people, too.

“The Rock did a little bit of research, and here’s what he found out. This is the truth. This is a fact. The No. 1 city in America for cocaine and meth use is Phoenix, Arizona,” The Rock said to a roaring crowd that seemed to revel in the insults. Then and only then did he lay the smack down on his WrestleMania opponents.

Were The Rock’s assertions true? Or just an engine for vigorous trash talk? Most importantly: Does anyone really care, as long as the entertainment value is cranked to 11 and WWE churns out more fans to watch and fork over cash for its signature spectacle, WrestleMania, unfolding in Philadelphia this weekend?

Along the murky lines that intertwine sports, entertainment and, yes, politics, the ethos of being bad has never been so good. Say what you want. Do you want. The public eats it up. And for decades, somehow, the garish world of professional wrestling has sat smack in the middle of it all.

Outside the ring, the Superman spandex traded for Clark Kent glasses and a leather jacket, Dwayne Johnson crafts his good-guy image to plug his movies, his tequila label, his men’s care line, his football league — business interests where the bottom line doesn’t require calling the competition a bunch of “roody-poo candy-asses.” But under the house lights each week on live TV, Johnson knows storylines are sold on his Hollywood heel persona.

“I feel like everybody wants to be the good guy, the good girl. Everyone wants to be loved and cheered and considered the hero, which is great and it’s natural,” he says. “But, I have felt in my career, the rare air is when you have the opportunity to grab it by the throat, you don’t let it go. And that’s the opportunity to be a great bad guy.”

Wrestlemania and its cultural pull

The Rock is set to headline one of two nights of the annual WrestleMania event this weekend in Philadelphia, where more than 70,000 fans each night are expected to pack the NFL stadium that is home to the Eagles.

Banners of your favorite wrestlers, or the ones you love to hate, have smothered city street poles. Philly has been overrun by wrestling conventions, autograph signings, independent wrestling shows, podcast tapings, a 2K24 gaming tournament and all the other trappings that have turned the industry into a mainstream cultural phenomenon.

From the start, WrestleMania was born to be different.

Mr. T and Muhammad Ali helped pack Madison Square Garden in 1985, and “The Showcase of the Immortals” quickly turned a night of wrestling usually reserved for smoky arenas into the Super Bowl of entertainment. As WrestleMania approaches 40, it’s never been bigger — even with brainchild Vince McMahon a pariah and ousted from the company in the wake of a sex abuse lawsuit.

Yes, McMahon and Donald Trump even tangled at WrestleMania in 2007 in a “Battle of the Billionaires” match.

“Donald Trump, to a certain extent, represents a great deal of Americana,” McMahon said in 2007. “He’s larger than life, which really fits into what the WWE is.”

Maybe wrestling really does represent who we are as a nation. But even if you still scrunch your nose like you took a whiff of curdled milk over the very idea that anyone would like this flavor of wrestling, odds are you’ve still heard of The Rock and Hulk Hogan. Andre the Giant and John Cena. You’ve snapped into a Slim Jim because Randy Savage ordered you to, or let out a “Woooo!” at a hockey game like Ric Flair. Dave Bautista won a WrestleMania championship before he ever guarded the galaxy.

“Look at the way it was marketed in the 80s, when Vince McMahon really changed the whole industry forever,” said author Brad Balukjian, whose new book is on 1980s WrestleMania stars. “He’s got the action figures, he’s got the cartoon and the bedsheets and the lunch boxes. He turned these guys into the Batmans and the Marvel Cinematic Universe of the 80s, in a way.”

Revel in the universally accepted fakery

Fans have long been in on the con — and embraced it. It’s a mutual agreement forged for even paying customers to play their own roles in the four-sided ring performance. So they cheer. They boo. And despite all evidence to the contrary, they openly accept that each move is as legitimate a sporting action as anything found in a weeknight ballgame.

Wrestling pretended for so long to be on the up-and-up. Comedian Andy Kaufman drew gasps when he was slapped by wrestler Jerry Lawler on Late Night with David Letterman. But the curtain was yanked open long ago. On Wednesday, Johnson and WWE Universal Champion Roman Reigns appeared on the The Tonight Show without any manufactured theatrics on their final hype job ahead of WrestleMania.

Former WWE star Dave Schultz slapped a 20/20 reporter in the 1980s for calling wrestling fake. Now ESPN, The Athletic, Sports Illustrated and CBS Sports have dedicated pages that report on both storylines and behind-the-scenes news, where the real drama is more likely found. Wrestling news is treated as seriously as any other sport’s.

But is it? A sport, that is.

Debate the definition all you want. Wrestling — a precursor to reality TV and all the Real Housewives — isn’t going anywhere. And its biggest fans are often the athletes who want to emulate the super-sized stars.

This week, Joel Embiid was about to divulge that he suffered from depression during an injury that cost him two months of his NBA career. But before the Philadelphia 76ers big man unburdened himself, he pulled on a WWE T-shirt emblazoned with the slogan of the wrestling company’s most boorish faction, Degeneration X: “Suck It.”

For pro wrestling, momentum is at hand. WWE’s weekly television show Raw will move to Netflix next year as part of a major streaming deal worth more than $5 billion. That’s some serious cash that even the “Million Dollar Man” Ted DiBiase would envy.

So go ahead. Sneer at wrestling. Or let go, turn a blind eye to the subterfuge and embrace Hulkamania and the frenzy that followed as a staple of the global sports landscape. Because it’s not leaving the building anytime soon.

Consider John Kruk, retired Phillies star and team broadcaster. You’d think that the pinnacle moment of baseball each year would be a must-see for him. But if pro wrestling is coming to town, as he told wrestler Kofi Kingston on TV recently, other priorities prevail.

“If it was a World Series game, if the Phillies aren’t participating, and wrestling was on,” Kruk said, “I’m watching wrestling.”
…

RABAT, Morocco — When Morocco ‘s King Mohamed VI visited Havana in 2017, Cuban-American gallery owner Alberto Magnan impressed him with a “full immersion” in the Caribbean island’s art and culture, drawing a line between the cultural and historical themes tackled by Cuban artists and those from across Africa.

Seven years after that encounter, one of the first exhibitions of Cuban art at an African museum is showing at Morocco’s Mohammed VI Museum of Modern and Contemporary Art.

It’s part of an effort to give visitors a view beyond the European artists who often remain part of the school curriculum in the North African nation and other former French colonies, museum director Abdelaziz El Idrissi said.

“The Moroccan public might know Giacometti, Picasso or impressionists,” El Idrissi said. The museum has shown them all. “We’ve seen them and are looking for other things, too.”

The Cuba show contains 44 pieces by Wifredo Lam — a major showing of the Afro-Cuban painter’s work more than a year before New York City’s Museum of Modern Art will honor him with a career retrospective show in 2025.

“We’re kind of beating MoMA to the punch,” Magnan said.

The Morocco show also marks the first time that the work of another luminary, Jose Angel Toirac, is being displayed outside Cuba. Previously, his paintings depicting the country’s late anti-capitalist president Fidel Castro in the iconography of American advertisements and consumer culture were not allowed off the island.

Other works in Cuban Art: On the other side of the Atlantic — open until June 16 — show prevalent themes in Cuban art ranging from isolation and economic embargo to heritage and identity.

In Cuba, almost half of the population identifies as mixed race and more than 1 million people are Afro-Cuban. The island’s diversity is a recurring subject for its painters and artists, including Lam. That’s why it was important to show his work — including paintings of African-inspired masks and use of vibrant color — in Africa, Magnan said.

Morocco is among countries that have shown new interest in Cuban art since the United States restored diplomatic ties with Cuba in 2014 and Castro died in 2016. American art dealers and major museums flocked to the previously difficult-to-visit island.

But the intrigue was curbed by the COVID-19 pandemic and former U.S. President Donald Trump’s decision to redesignate the country as a “state sponsor of terrorism,” Magnan said.

Meanwhile, Morocco has increased funding for arts and culture in an effort to boost its “geopolitical soft power” in North Africa and beyond.

In both Morocco and Cuba, 20th century artists responded to political transition — decolonization in Morocco, revolution in Cuba — by drawing from history and engaging in trends shaping contemporary art worldwide.

But the current show does not touch on Moroccan-Cuban diplomatic relations, which were restored following King Mohamed VI’s 2017 visit to Cuba.

The countries had cut ties decades ago over Cuba’s position on the disputed Western Sahara, which Morocco claims. Cuba has historically trained Sahrawi soldiers and doctors and backed the Polisario Front’s agenda at the United Nations. 
…

Discrimination dating back decades has often meant Chinese Muslims living in Indonesia have had a difficult time blending in with others of their faith. Several mosques in the country now aim to bridge that gap, as VOA’s Ahadian Utama reports. VOA footage by Gregorius Giovanni.
…

Los Angeles — The Godzilla-King Kong combo stomped on expectations as “Godzilla x Kong: The New Empire” roared to an $80 million opening on 3,861 North American screens, according to Sunday studio estimates.

 

The monster mash-up from Warner Bros. and Legendary Pictures starring Rebecca Hall and Brian Tyree Henry brought the second-highest opening in what has been a robust year, falling just short of the $81.5 million debut of “Dune: Part 2.”  Projections had put the opening weekend of “Godzilla x Kong: Frozen Empire” at closer to $50 million.

 

Last week’s No. 1 at the box office, “Ghostbusters: Frozen Empire,” was second with $15.7 million for a two-week total of $73.4 million.

 

“Dune: Part Two” stayed strong in its fifth week, falling in the third spot with an $11.1 million take and a domestic total of $252.4 million.

 

The last matchup of the two monsters from Warner Bros. and Legendary, 2021’s “Godzilla vs. Kong,” had a much smaller opening weekend of $48.5 million, but that was a huge number for a film slowed by the coronavirus pandemic and released simultaneously on HBO Max.

 

The newer film had the second biggest opening of the studios’ broader MonsterVerse franchise. “Godzilla” brought in $93.2 million in 2014.

 

Estimated ticket sales are for Friday through Sunday at U.S. and Canadian theaters,  

according to Comscore. Final domestic figures will be released Monday.

 

1. “Godzilla x Kong: The New Empire,” $80 million.

2. “Ghostbusters: Frozen Empire,” $15.7 million.

3. “Dune: Part Two,” $11.1 million.

4. “Kung Fu Panda 4,” $10.2. million.

5. “Immaculate,” $3.3 million.

6. “Arthur the King,” $2.4 million.

7. “Late Night With the Devil,” $2.2 million.

8. “Tillu Square,” $1.8 million.

9. “Crew,” $1.5 million.

10. “Imaginary,” $1.4 million.
    …

Vatican City — Pope Francis on Sunday celebrated Easter Mass with tens of thousands of Catholics at Saint Peter’s Square in Vatican City before his traditional blessing, as concerns persist over his health.

The 87-year-old arrived in a wheelchair to preside over the Mass from 10 a.m. (0800 GMT) in cloudy and windy weather, with the events broadcast live around the globe.

Francis will pronounce the “Urbi et Orbi” (To the City and the World) blessing at midday where he is expected to bring up the international conflicts raging worldwide.

For Christians, Easter Sunday marks the resurrection of Jesus Christ and is the culmination of Holy Week, a major part of the Catholic calendar followed by 1.3 billion people.

The pope on Saturday presided over the Easter Vigil at the Vatican in front of some 6,000 people from around the world, a day after his last-minute cancellation at a major Good Friday procession revived questions about his health.

He delivered a 10-minute homily in Italian, speaking without any undue difficulty and condemning “the walls of selfishness and indifference” in the world.

At the end of the 2½-hour service he showed little sign of fatigue, taking time to greet and bless some of the worshippers.

In a brief statement Friday, the Vatican had said that “to preserve his health ahead of tomorrow’s vigil and the Easter Sunday Mass, Pope Francis will this evening follow the Way of the Cross at the Colosseum from the Santa Marta Residence,” where he lives.

Health concerns

The last-minute decision raised questions about how long Francis can continue to lead the Catholic Church.

A Vatican source told AFP on Friday there was “no particular concern” about his health and the decision to pull out had been “simply a measure of caution.”

The Argentinian Jesuit had also canceled his participation in the “Via Crucis” in 2023, but that followed a three-day hospital stay for bronchitis, and was announced well ahead of time. Weeks later, he underwent a hernia operation.

Up until Friday, the pope had attended his various engagements throughout the week, but he recently appeared tired and has sometimes delegated speaking roles to colleagues.

Francis, who never takes holidays, made his last trip in September, to the southern French city of Marseille. In December, he canceled a much-anticipated attendance at the COP28 climate summit in Dubai.

His next scheduled trip is to Venice on April 28. The Vatican has not yet confirmed a planned trip to Asia and Pacific Ocean nations for this summer.

Francis has previously left the door open to stepping down if he can no longer do the job. That would follow the example of his immediate predecessor, Benedict XVI, who in 2013 became the first pope since the Middle Ages to voluntarily step aside.

But in a memoir published this month, Francis wrote that he did “not have any cause serious enough to make me think of resigning.” 
…

Washington/Los Angeles — A California college is seeking the return, “no questions asked,” of an iconic image of Chinese Communist Party founder Mao Zedong created by famed American artist Andy Warhol.

Two weeks ago, Orange Coast College discovered that one of Warhol’s signed silkscreen prints of Mao was missing from its vault. The portrait has an estimated value of $50,000.

Doug Bennett, executive director for college advancement at Orange Coast College, told VOA’s Mandarin Service that the print was purchased by a person close to the school from a gallery in Laguna Beach, California, in 1974 and donated to the school anonymously in September 2020.

But now, even before it was put on display, it’s gone missing.

Bennett said he hopes someone just took the print by mistake, adding that the college wouldn’t ask questions if it was returned.

“Someone perhaps took it and put it in their office or put it in their home and thought it was OK to do. Or maybe it was misplaced, but I don’t think it was like a ring of art thieves that stole it,” he said.

Warhol made the portraits of Mao in the 1970s after U.S. President Richard Nixon’s historic visit to China.

“When it [the portrait of Mao] first came out in the 1970s, it was very controversial, still maybe to some people,” Bennett said.

From 1972-73, Warhol used the image of Mao from the Little Red Book, widely circulated in China, as a template to create 199 richly colored Mao silkscreen works in five series.

The school immediately launched an internal investigation after discovering the print was missing on March 13. A week later, a report was made to the Costa Mesa Police Department in Orange County, where the school is located. The police are investigating.

“It’s a high priority for the police department, and two detectives are assigned to the case and are working on it,” Bennett said.

The Costa Mesa Police Department told VOA the investigation is ongoing but did not provide any new details.

Police and the school are appealing for anyone with information to come forward.

Warhol, who is known as the godfather of the pop art movement, began using ubiquitous objects such as Campbell’s soup cans and Coca-Cola bottles as subjects for his creations in the 1960s, kicking off the movement.

A summary of the Mao portraits by the Metropolitan Museum of Art in New York says this about the series: “As interpreted by Warhol, these works, with their repeated image painted in flamboyant colors and with expressionistic marks, may suggest a parallel between political propaganda and capitalist advertising.”

In 1982, Warhol visited China and took a photo in front of the portrait of Mao in Tiananmen Square. Five years later, Warhol died.

In 2013, Warhol’s works toured China, but the Mao series was forced to be withdrawn. At the time, Chinese state media claimed that the Mao in the works “far exceeded the officially acceptable image.”

However, the Mao series has become one of Warhol’s most sought-after celebrity portraits by collectors. According to data from Sotheby’s auction house, in 2015, a Mao painting was sold for $47.5 million. In 2017, another painting of Mao was sold for $12.7 million.
…

FLORENCE, Italy — Michelangelo’s David has been a towering figure in Italian culture since its completion in 1504. But in the current era of the quick buck, curators worry the marble statue’s religious and political significance is being diminished by the thousands of refrigerator magnets and other souvenirs sold around Florence focusing on the statue’s genitalia,

The Galleria dell’Accademia’s director, Cecilie Hollberg, has positioned herself as David’s defender since her arrival at the museum in 2015, taking swift aim at those profiteering from his image, often in ways she finds “debasing.”

In that way, she is a bit of a David herself against the Goliath of unfettered capitalism with its army of street vendors and souvenir shop operators hawking aprons of the statue’s nude figure, T-shirts of it engaged in obscene gestures, and ubiquitous figurines, often in Pop Art neon.

At Hollberg’s behest, the state’s attorney office in Florence has launched a series of court cases invoking Italy’s landmark cultural heritage code, which protects artistic treasures from disparaging and unauthorized commercial use. The Accademia has won hundreds of thousands of euros (dollars) in damages since 2017, Hollberg said.

“There was great joy throughout all the world for this truly unique victory that we managed to achieve, and questions and queries from all over about how we did it, to ask advice on how to move,” she told The Associated Press.

Legal action has followed to protect masterpieces at other museums, not without debate, including Leonardo’s Vitruvian Man, Donatello’s David and Botticelli’s Birth of Venus.

The decisions challenge a widely held practice that intellectual property rights are protected for a specified period before entering the public domain — the artist’s lifetime plus 70 years, according to the Berne Convention signed by more than 180 countries including Italy.

More broadly, the decisions raise the question of whether institutions should be the arbiters of taste, and to what extent freedom of expression is being limited.

“It raises not just legal issues, but also philosophical issues. What does cultural patrimony mean? How much of a stranglehold do you want to give institutions over ideas and images that are in the public domain?” said Thomas C. Danziger, an art market lawyer based in New York.

He pointed to Andy Warhol’s famous series inspired by Leonardo’s Last Supper. “Are you going to prevent artists like Warhol from creating what is a derivative work?” Danziger asked. “Many people would view this as a land grab by the Italian courts to control and monetize artworks in the public domain that were never intended to be charged for.”

Italy’s cultural code is unusual in its scope, essentially extending in perpetuity the author’s copyright to the museum or institution that owns it. The Vatican has similar legislative protections on its masterpieces and seeks remedies through its court system for any unauthorized reproduction, including for commercial use and for damaging the dignity of the work, a spokesperson said.

Elsewhere in Europe, Greece has a similar law, adopted in 2020, which requires a permit to use images of historic sites or artifacts for commercial use, and forbids the use of images that “alter” or “offend” the monuments in any way.

France’s Louvre museum, home to some oft-replicated masterpieces like the Mona Lisa and Venus de Milo, notes that its collection mostly dates from before 1848, which puts them in the public domain under French law.

Court cases have debated whether Italy’s law violates a 2019 European Union directive stating that any artwork no longer protected by copyright falls into the public domain, meaning that “everybody should be free to make, use and share copies of that work.”

The EU Commission has not addressed the issue, but a spokesperson told the AP that it is currently checking “conformity of the national laws implementing the copyright directive” and would look at whether Italy’s cultural heritage code interferes with its application.

Hollberg won her first case against ticket scalpers using David’s image to sell marked-up entrance packages outside the Accademia’s doors. She also has targeted GQ Italia for imposing a model’s face on David’s body, and luxury fashion brand Longchamp’s cheeky Florence edition of its trademark Le Pliage bag featuring David’s more intimate details.

Longchamp noted the depiction was “not without irony” and said the bag was “an opportunity to express with amused lightness the creative force that has always animated this wonderful city.”

No matter how many lawsuits Hollberg has initiated — she won’t say how many — the proliferation of David likenesses continues.

“I am sorry that there is so much ignorance and so little respect in the use of a work that for centuries has been praised for its beauty, for its purity, for its meanings, its symbols, to make products in bad taste, out of plastic,” Hollberg said.

Based on Hollberg’s success and fortified by improved search engine technology, the private entity that is custodian of Florence’s landmark Cathedral has started going after commercial enterprises using the famed dome for unauthorized, and sometimes denigrating, purposes — including men’s and women’s underwear.

So far, cease-and-desist letters have been enough to win compliance without turning to the courts, adding an extra half a million euros ($541,600) a year to revenues topping 30 million euros ($32 million), Luca Bagnoli, president of the Opera di Santa Maria del Fiore, told the AP.

“We are generally in favor of the freedom of artistic expression,” Bagnoli said. “When it comes to reinterpreted copies, it becomes a little more difficult to understand where artistic freedom ends and our image rights begin.”

Italy’s cultural heritage code in its current form has been on the books since 2004, and while Hollberg’s cases were not the first, they have represented an acceleration, experts said.

The jurisprudence is still being tested. A court in Venice ordered Germany’s Ravensburger jigsaw puzzle maker to stop using the image of Vitruvian Man in the first case to involve a company outside Italy. The ruling implicitly rejected Ravensburger’s argument that the law was incompatible with the EU directive on copyright, lawyers said.

Experts say the aggressive stance could backfire, discouraging the licensing of Italy’s artworks, a source of revenue, while also limiting the reproduction of masterpieces that serve as cultural ambassadors.

“There is a risk for Italy, because you can select a work of art that is not covered by this legislation,” said Vittorio Cerulli Irelli, an intellectual property lawyer at Trevisan & Cuonzo in Rome. “In many instances, it is the same for you to use Leonardo’s painting which is in the U.K. or Leonardo’s painting which is in Italy. You just go for the easiest choice.”
…

ROME — Pope Francis presided over the Vatican’s somber Easter Vigil service on Saturday night, delivering a 10-minute homily and baptizing eight people, a day after suddenly skipping the Good Friday procession at the Colosseum as a health precaution.

Francis entered the darkened, silent St. Peter’s Basilica in his wheelchair, took his place in a chair and offered an opening prayer. Sounding somewhat congested and out of breath, he blessed an elaborately decorated Easter candle, the flame of which was then shared with other candles until the whole basilica twinkled.

Over an hour later, Francis delivered a 10-minute homily in a strong voice, clearing his throat occasionally.

The evening service, one of the most solemn and important moments in the Catholic liturgical calendar, commemorates the resurrection of Jesus. The Vatican had said Francis skipped the Good Friday procession to ensure his participation in both the vigil service Saturday night, which usually lasts about two hours, and Easter Sunday Mass a few hours later.

The 87-year-old Francis, who had part of one lung removed as a young man, has been battling respiratory problems all winter that have made it difficult for him to speak at length. He and the Vatican have said he has had bronchitis, a cold or the flu.

He has canceled some audiences and often asked an aide to read aloud some of his speeches. But the alarm was raised when he ditched his Palm Sunday homily altogether last week at the last minute and then decided suddenly Friday to stay home rather than preside over the Way of the Cross procession at the Colosseum reenacting Christ’s crucifixion.

The Vatican said in a brief explanation that the decision was made to “conserve his health.”

The decision appeared to have paid off Saturday night, as Francis was able to recite the prayers of the lengthy vigil service and perform the sacrament of baptism for the eight adults. The baptism is a traditional feature of the Vatican’s Easter Vigil service.

In his homily Francis referred to the stone that the faithful believe was removed from Christ’s tomb after his death. Francis urged Catholics to remove the stones in their lives that “block the door of our hearts, stifling life, extinguishing hope, imprisoning us in the tomb of our fears and regrets.”

“Let us lift our eyes to him and ask that the power of his resurrection may roll away the heavy stones that weigh down our souls,” he said.

Holy Week is trying for a pope under any circumstance, given four days of liturgies, rites, fasting and prayer. But that is especially true for Francis, who canceled a trip to Dubai late last year, just days prior, on doctor’s orders because of his respiratory problems.

In addition to his respiratory problems, Francis had a chunk of his large intestine removed in 2021 and was hospitalized twice last year, including once to remove intestinal scar tissue from previous surgeries to address diverticulosis, or bulges in his intestinal wall. He has been using a wheelchair or cane for nearly two years because of bad knee ligaments.

In his recently published memoirs, Life: My Story Through History, Francis said he isn’t suffering from any health problems that would require him to resign and that he still has ” many projects to bring to fruition.”
…

…

ROME — The Vatican confirmed Pope Francis would preside over the Easter Vigil service Saturday night, after he decided at the last minute to skip his participation in the Good Friday procession at the Colosseum as a health precaution.

The Vatican’s daily bulletin confirmed Francis would lead the lengthy vigil in St. Peter’s Basilica, one of the most solemn and important moments in the Catholic liturgical calendar. The service, which is due to begin at 7:30 p.m. and usually lasts two hours, commemorates the resurrection of Jesus and includes the sacrament of baptism for eight adult converts.

The 87-year-old Francis, who had part of one lung removed as a young man, has been battling respiratory problems all winter that have made it difficult for him to speak at length.

He has canceled some audiences and often asked an aide to read aloud some of his speeches. But he ditched his Palm Sunday homily altogether and decided at the last minute Friday to stay home rather than preside over the Way of the Cross procession at the Colosseum reenacting Christ’s crucifixion.

The Vatican said in a brief explanation that the decision was made to “conserve his health” in view of the vigil service Saturday and his even more taxing obligations on Easter Sunday. The pope is due to preside over a morning Easter Mass in St. Peter’s Square and deliver his Urbi et Orbi (to the city and the world) speech praying for an end to global crises.

While Francis also skipped the chilly Good Friday procession last year because he was recovering from bronchitis, his sudden absence from the event this year raised concern. His chair was in place on the podium, and his aides were preparing for his arrival when the Vatican announced five minutes before the official start time that he wasn’t coming.

In addition to his respiratory problems, Francis had a chunk of his large intestine removed in 2021 and was hospitalized twice last year, including once to remove intestinal scar tissue from previous surgeries to address diverticulosis, or bulges in his intestinal wall. He has been using a wheelchair or cane for nearly two years because of bad knee ligaments.

In his recently published memoirs, “Life: My Story Through History,” Francis said he isn’t suffering from any health problems that would require him to resign and that he still has “many projects to bring to fruition.”
…

…

new york — Doris Kearns Goodwin, Laurie Anderson and the president of the Harlem School of the Arts, James C. Horton, are being honored by the American Academy of Arts and Letters. 

The academy announced Friday that Goodwin, the Pulitzer Prize-winning historian, is receiving a Gold Medal for biography. Anderson, the celebrated avant-garde performer, will be given a Gold Medal for music. Horton, who has run the renowned Harlem school since 2022 and has worked in education for decades, is being cited for his “significant contribution to the arts.” 

All three will be presented their awards in May, when the academy formally inducts its new members, among them the Oscar-winning composer John Williams and the novelist Alice McDermott. 

The arts academy is an honor society founded in 1898 that has 300 core members and each year awards numerous prizes and grants.
…

LOS ANGELES — Louis Gossett Jr., the first Black man to win a supporting actor Oscar and an Emmy winner for his role in the seminal TV miniseries “Roots,” has died. He was 87. 

Gossett’s first cousin Neal L. Gossett told The Associated Press that the actor died Thursday night in Santa Monica, California. No cause of death was revealed. 

Gossett’s cousin remembered a man who walked with Nelson Mandela and who also was a great joke teller, a relative who faced and fought racism with dignity and humor. 

“Never mind the awards, never mind the glitz and glamour, the Rolls-Royces and the big houses in Malibu. It’s about the humanity of the people that he stood for,” his cousin said. 

 

Louis Gossett always thought of his early career as a reverse Cinderella story, with success finding him from an early age and propelling him forward, toward his Academy Award for “An Officer and a Gentleman.” 

He earned his first acting credit in his Brooklyn high school’s production of “You Can’t Take It with You” while he was sidelined from the basketball team with an injury. 

“I was hooked — and so was my audience,” he wrote in his 2010 memoir “An Actor and a Gentleman.” 

His English teacher urged him to go into Manhattan to try out for “Take a Giant Step.” He got the part and made his Broadway debut in 1953 at age 16. 

“I knew too little to be nervous,” Gossett wrote. “In retrospect, I should have been scared to death as I walked onto that stage, but I wasn’t.” 

Gossett attended New York University on a basketball and drama scholarship. He was soon acting and singing on TV shows hosted by David Susskind, Ed Sullivan, Red Buttons, Merv Griffin, Jack Paar and Steve Allen. 

Gossett became friendly with James Dean and studied acting with Marilyn Monroe, Martin Landau and Steve McQueen at an offshoot of the Actors Studio taught by Frank Silvera. 

In 1959, Gossett received critical acclaim for his role in the Broadway production of “A Raisin in the Sun” along with Sidney Poitier, Ruby Dee and Diana Sands. 

He went on to become a star on Broadway, replacing Billy Daniels in “Golden Boy” with Sammy Davis Jr. in 1964. 

Gossett went to Hollywood for the first time in 1961 to make the film version of “A Raisin in the Sun.” He had bitter memories of that trip, staying in a cockroach-infested motel that was one of the few places to allow Black people. 

In 1968, he returned to Hollywood for a major role in “Companions in Nightmare,” NBC’s first made-for-TV movie that starred Melvyn Douglas, Anne Baxter and Patrick O’Neal. 

This time, Gossett was booked into the Beverly Hills Hotel and Universal Studios had rented him a convertible. Driving back to the hotel after picking up the car, he was stopped by a Los Angeles County sheriff’s officer who ordered him to turn down the radio and put up the car’s roof before letting him go. 

Within minutes, he was stopped by eight sheriff’s officers, who had him lean against the car and made him open the trunk while they called the car rental agency before letting him go. 

“Though I understood that I had no choice but to put up with this abuse, it was a terrible way to be treated, a humiliating way to feel,” Gossett wrote in his memoir. “I realized this was happening because I was Black and had been showing off with a fancy car — which, in their view, I had no right to be driving.” 

After dinner at the hotel, he went for a walk and was stopped a block away by a police officer, who told him he broke a law prohibiting walking around residential Beverly Hills after 9 p.m. Two other officers arrived and Gossett said he was chained to a tree and handcuffed for three hours. He was eventually freed when the original police car returned. 

“Now I had come face-to-face with racism, and it was an ugly sight,” he wrote. “But it was not going to destroy me.” 

In the late 1990s, Gossett said he was pulled over by police on the Pacific Coast Highway while driving his restored 1986 Rolls Royce Corniche II. The officer told him he looked like someone they were searching for, but the officer recognized Gossett and left. 

He founded the Eracism Foundation to help create a world where racism doesn’t exist. 

Gossett made a series of guest appearances on such shows as “Bonanza,” “The Rockford Files,” “The Mod Squad,” “McCloud” and a memorable turn with Richard Pryor on “The Partridge Family.” 

In August 1969, Gossett had been partying with members of the Mamas and the Papas when they were invited to actor Sharon Tate’s house. He headed home first to shower and change clothes. As he was getting ready to leave, he caught a news flash on TV about Tate’s murder. She and others were killed by Charles Manson’s associates that night. 

“There had to be a reason for my escaping this bullet,” he wrote. 

Louis Cameron Gossett was born on May 27, 1936, in the Coney Island section of Brooklyn, New York, to Louis Sr., a porter, and Hellen, a nurse. He later added Jr. to his name to honor his father. 

Gossett broke through on the small screen as Fiddler in the groundbreaking 1977 miniseries “Roots,” which depicted the atrocities of slavery on TV. The sprawling cast included Ben Vereen, LeVar Burton and John Amos. 

Gossett became the third Black Oscar nominee in the supporting actor category in 1983. He won for his performance as the intimidating Marine drill instructor in “An Officer and a Gentleman” opposite Richard Gere and Debra Winger. He also won a Golden Globe for the same role. 

“More than anything, it was a huge affirmation of my position as a Black actor,” he wrote in his memoir. 

“The Oscar gave me the ability of being able to choose good parts in movies like ‘Enemy Mine,’ ‘Sadat’ and ‘Iron Eagle,'” Gossett said in Dave Karger’s 2024 book “50 Oscar Nights.” 

He said his statue was in storage. 

“I’m going to donate it to a library so I don’t have to keep an eye on it,” he said in the book. “I need to be free of it.” 

Gossett appeared in such TV movies as “The Story of Satchel Paige,” “Backstairs at the White House, “The Josephine Baker Story,” for which he won another Golden Globe, and “Roots Revisited.” 

But he said winning an Oscar didn’t change the fact that all his roles were supporting ones. 

He played an obstinate patriarch in the 2023 remake of “The Color Purple.” 

Gossett struggled with alcohol and cocaine addiction for years after his Oscar win. He went to rehab, where he was diagnosed with toxic mold syndrome, which he attributed to his house in Malibu. 

In 2010, Gossett announced he had prostate cancer, which he said was caught in the early stages. In 2020, he was hospitalized with COVID-19. 

He also is survived by sons Satie, a producer-director from his second marriage, and Sharron, a chef whom he adopted after seeing the 7-year-old in a TV segment on children in desperate situations. His first cousin is actor Robert Gossett. 

Gossett’s first marriage to Hattie Glascoe was annulled. His second, to Christina Mangosing, ended in divorce in 1975 as did his third to actor Cyndi James-Reese in 1992.
…

…

TOKYO — Oppenheimer finally premiered Friday in the nation where two cities were obliterated 79 years ago by the nuclear weapons invented by the American scientist who was the subject of the Oscar-winning film. Japanese filmgoers’ reactions understandably were mixed and highly emotional.

Toshiyuki Mimaki, who survived the bombing of Hiroshima when he was 3, said he has been fascinated by the story of J. Robert Oppenheimer, often called “the father of the atomic bomb” for leading the Manhattan Project.

“What were the Japanese thinking, carrying out the attack on Pearl Harbor, starting a war they could never hope to win?” he said, sadness in his voice, in a telephone interview with The Associated Press.

He is now chairperson of a group of bomb victims called the Japan Confederation of A- and H-Bomb Sufferers Organization and he saw Oppenheimer at a preview event. “During the whole movie, I was waiting and waiting for the Hiroshima bombing scene to come on, but it never did,” Mimaki said.

Oppenheimer does not directly depict what happened on the ground when the bombs were dropped on Hiroshima and Nagasaki, turning some 100,000 people instantly into ashes, and killed thousands more in the days that followed, mostly civilians.

The film instead focuses on Oppenheimer as a person and his internal conflicts.

The film’s release in Japan, more than eight months after it opened in the U.S., had been watched with trepidation because of the sensitivity of the subject matter.

Former Hiroshima Mayor Takashi Hiraoka, who spoke at a preview event for the film in the southwestern city, was more critical of what was omitted.

“From Hiroshima’s standpoint, the horror of nuclear weapons was not sufficiently depicted,” he was quoted as saying by Japanese media. “The film was made in a way to validate the conclusion that the atomic bomb was used to save the lives of Americans.”

Some moviegoers offered praise. One man emerging from a Tokyo theater Friday said the movie was great, stressing that the topic was of great interest to Japanese, although emotionally volatile as well. Another said he got choked up over the film’s scenes depicting Oppenheimer’s inner turmoil. Neither man would give his name to an Associated Press journalist.

In a sign of the historical controversy, a backlash flared last year over the “Barbenheimer” marketing phenomenon that merged pink-and-fun Barbie with seriously intense Oppenheimer. Warner Bros. Japan, which distributed Barbie in the country, apologized after some memes depicted the Mattel doll with atomic blast imagery.

Kazuhiro Maeshima, professor at Sophia University, who specializes in U.S. politics, called the film an expression of “an American conscience.”

Those who expect an anti-war movie may be disappointed. But the telling of Oppenheimer’s story in a Hollywood blockbuster would have been unthinkable several decades ago, when justification of nuclear weapons dominated American sentiments, Maeshima said.

“The work shows an America that has changed dramatically,” he said in a telephone interview.

Others suggested the world might be ready for a Japanese response to that story.

Takashi Yamazaki, director of Godzilla Minus One, which won the Oscar for visual effects and is a powerful statement on nuclear catastrophe in its own way, suggested he might be the man for that job.

“I feel there needs to an answer from Japan to Oppenheimer. Someday, I would like to make that movie,” he said in an online dialogue with Oppenheimer director Christopher Nolan.

Nolan heartily agreed.

Hiroyuki Shinju, a lawyer, noted Japan and Germany also carried out wartime atrocities, even as the nuclear threat grows around the world. Historians say Japan was also working on nuclear weapons during World War II and would have almost certainly used them against other nations, Shinju said.

“This movie can serve as the starting point for addressing the legitimacy of the use of nuclear weapons on Hiroshima and Nagasaki, as well as humanity’s, and Japan’s, reflections on nuclear weapons and war,” he wrote in his commentary on Oppenheimer published by the Tokyo Bar Association. 
…

…

LONDON — Books about the dizzying impact of the internet and artificial intelligence are among finalists for a new book prize that aims to help fix the gender imbalance in nonfiction publishing.

The shortlisted six books for the inaugural Women’s Prize for Nonfiction, announced on Wednesday, include Canadian author-activist Naomi Klein’s “Doppleganger,” a plunge into online misinformation, and British journalist Madhumita Murgia’s “Code-Dependent: Living in the Shadow of AI.”

The 30,000 pound ($38,000) award is a sister to the 29-year-old Women’s Prize for Fiction and is open to female English-language writers from any country in any nonfiction genre.

The finalists also include autobiographical works — poet Safiya Sinclair’s “How to Say Babylon: A Jamaican Memoir” and British art critic Laura Cumming’s “Thunderclap: A Memoir of Art and Life and Sudden Death.”

Rounding out the list are British author Noreen Masud’s travelogue-memoir “A Flat Place,” and Harvard history professor Tiya Miles’ “All That She Carried,” a history of American enslavement told through one Black family’s keepsake.

British historian Suzannah Lipscomb, who is chairing the judging panel, said that “the readers of these books will never see the world — be it through art, history, landscape, politics, religion or technology — the same again.”

The winners of both nonfiction and fiction prizes will be announced at a ceremony in London on June 13.

The prize was set up in response to a gender imbalance in the book world, where men buy more nonfiction than women — and write more prize-wining nonfiction books.

The company Nielsen Book Research found in 2019 that while women bought 59% of all the books sold in the United Kingdom, men accounted for just over half of adult nonfiction purchases.

Prize organizers say that in 2022, only 26.5% of nonfiction books reviewed in Britain’s newspapers were by women, and male writers dominated established nonfiction writing prizes.
…

MADRID — A prosecutor at Spain’s High Court is seeking a prison sentence of 2-1/2 years for former soccer federation chief Luis Rubiales over his unsolicited kiss on player Jenni Hermoso, a court document seen by Reuters on Wednesday showed.

Prosecutor Marta Durantez charged Rubiales with one count of sexual assault and one of coercion for his alleged actions in the aftermath of the kiss, offenses carrying jail terms of one year and one-and-a-half years, respectively.

Rubiales, 46, unleashed a furor when he grabbed Hermoso and kissed her on the lips on Aug. 20 of last year during the awards ceremony after Spain’s victory in the women’s World Cup in Sydney.  

Hermoso and her teammates said the kiss was unwanted and demeaning, but Rubiales argued it was consensual and denied any wrongdoing.  

The prosecutor also accused the former coach of the women’s national team, Jorge Vilda, the team’s current sporting director, Albert Luque, and the federation’s head of marketing, Ruben Rivera, of coercing Hermoso into saying the kiss was consensual.

All three have denied wrongdoing when they appeared before the court.

Durantez seeks to have Rubiales pay $54,080 in damages to Hermoso, and another $54,080 jointly paid by Rubiales, Vilda, Luque and Rivera.

If the court were to convict Rubiales and impose the sentencing sought by the prosecutor he would not necessarily have to go to prison. Spain’s criminal code allows judges to “exceptionally” suspend the execution of the sentence if – as in this case – none of the sentences imposed individually exceeds two years.
…

Millions celebrate by dancing, exchanging food and drink, and smearing each other with colorful powder
…

new york — Ghostbusting is still a good business. 

“Ghostbusters: Frozen Empire” collected $45.2 million in ticket sales over the weekend, according to studio estimates Sunday, handing Sony Pictures the studio’s first No. 1 film since last summer. 

The opening weekend for “Frozen Empire,” in 4,345 theaters, was nearly exactly the same as the $44 million launch for “Ghostbusters: Afterlife” in 2021. “Afterlife” rebooted the franchise with a sequel built around the descendants (Carrie Coon, Finn Wolfhard, Mckenna Grace) of Harold Ramis’ Egon Spengler, along with Paul Rudd’s seismologist Gary Grooberson. 

Neither film has been a hit with critics, but audiences have been more receptive. “Frozen Empire” garnered a B+ CinemaScore from moviegoers, a tick down from the A- score for “Afterlife.” “Frozen Empire” isn’t assured of profitability, but it will hope for sustained business over spring break. 

“Ghostbusters” films tend to make a low impact internationally. In 25 overseas markets, “Frozen Empire” added $16.4 million. 

The latest “Ghostbusters” cost about $100 million to make. After Jason Reitman took over directing duties from his father, Ivan Reitman, to helm “Ghostbusters: Afterlife,” “Frozen Empire” is directed by Gil Kenan, co-writer of “Afterlife.” 

Those two sequels took “Ghostbusters” in a more family-oriented, albeit PG-13 rated, direction, with original cast members Dan Aykroyd, Ernie Hudson and Bill Murray returning in supporting roles. After the 2016 female-led “Ghostbusters” prompted a backlash, Sony rebooted the franchise. 

The weekend’s other new wide release was “Immaculate,” the horror film starring Sydney Sweeney as an American nun at a remote Italian convent. The film, released by Neon following a premiere at SXSW, debuted with $5.4 million on 2,354 screens. Sweeney’s ascending star power helped make “Anyone But You” one of the most successful rom-coms in years. But “Immaculate,” an independent production that cost less than $10 million to make, isn’t getting the same bounce. 

“The movie features the popular Sydney Sweeney, but horror movies are not cast-driven,” wrote David A. Gross for the consulting firm Franchise Entertainment Research. “They’re driven by the hook: the evil doll, the wicked smile, the invisible or silent presence, the found footage, the possessed child. That’s what terrifies the horror crowd. The hook is not completely clear here.” 

The No. 2 spot went to “Dune: Part Two,” which continues to hold well. The Denis Villeneuve-directed sci-fi sequel starring Timothee Chalamet added $17.6 million in its fourth weekend of release, bringing the Warner Bros. release’s domestic total to $233.4 million. Overseas sales are just as strong, adding up to a $574.4 million worldwide haul. 

After two weeks atop the box office, Universal’s “Kung Fu Panda 4” slid to third place with $16.8 million over its third weekend. The well-performing DreamWorks animated sequel is up to $133.2 million domestic. It debuted with $25.7 million in China, where the movies have historically been popular. When the 2008 “Kung Fu Panda” was released, its success partly inspired China to expand its own film production. 

Estimated ticket sales are for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 

1. “Ghostbusters: Frozen Empire,” $45.2 million. 

2. “Dune: Part Two,” $17.6 million. 

3. “Kung Fu Panda 4,” $16.8 million. 

4. “Immaculate,” $5.4 million. 

5. “Arthur the King,” $4.4 million. 

6. “Late Night With the Devil,” $2.8 million. 

7. “Imaginary,” $2.8 million. 

8. “Love Lies Bleeding,” $1.6 million. 

9. “Cabrini,” $1.4 million. 

10. “Bob Marley: One Love,” $1.1 million.
    …

MONTREAL — American figure skating star Ilia Malinin is a world champion — and a world-record holder.

Malinin put on a dominant display that included a jaw-dropping six quad jumps — including his patented quad axel — to snag the men’s singles crown Saturday night at the world championships.

After placing third in Thursday’s short program, the 19-year-old scored a world record 227.79 in the free program while skating to the Succession soundtrack to bring his total to 333.76 — more than 20 points than the rest of the field.

Malinin dropped to the ice in disbelief after presenting his routine to a rowdy Bell Centre crowd that cheered and clapped the whole way.

He dethroned two-time defending world champion Shoma Uno of Japan, who fell to fourth (280.85) after missing two quad jumps to start his program.

Yuma Kagiyama of Japan won silver (309.65) and Adam Siao Him Fa of France claimed bronze (284.39). Siao Him Fa climbed from 19th to third with an awe-inspiring display of his own, which included a backflip.

Earlier Saturday, 2022 Olympic champions Madison Chock and Evan Bates of the United States defended their ice dance world title with a season-best total score of 222.20.

Canada’s Piper Gilles and Paul Poirier won silver (219.68) and Italy’s Charlene Guignard and Marco Fabbri claimed bronze (216.52).

It’s Montreal’s first time hosting the event since 1932. The city was supposed to stage the 2020 championship but the COVID-19 pandemic shut down the competition.

Boston will hold the 2025 competition.
…

NEW YORK — Babar author Laurent de Brunhoff, who revived his father’s popular picture book series about an elephant-king and presided over its rise to a global, multimedia franchise, has died. He was 98.

De Brunhoff, a Paris native who moved to the U.S. in the 1980s, died Friday at his home in Key West, Florida, after being in hospice care for two weeks, according to his widow, Phyllis Rose.

Just 12 years old when his father, Jean de Brunhoff, died of tuberculosis, Laurent was an adult when he drew upon his own gifts as a painter and storyteller and released dozens of books about the elephant who reigns over Celesteville, among them Babar at the Circus and Babar’s Yoga for Elephants. He preferred using fewer words than his father did, but his illustrations faithfully mimicked Jean’s gentle, understated style.

“Together, father and son have woven a fictive world so seamless that it is nearly impossible to detect where one stopped and the other started,” author Ann S. Haskell wrote in The New York Times in 1981.

The series has sold millions of copies worldwide and was adapted for a television program and such animated features as Babar: The Movie and Babar: King of the Elephants. Fans ranged from Charles de Gaulle to Maurice Sendak, who once wrote, “If he had come my way, how I would have welcomed that little elephant and smothered him with affection.”

De Brunhoff would say of his creation, “Babar, c’est moi” (“that’s me”), telling National Geographic in 2014 that “he’s been my whole life, for years and years, drawing the elephant.”

The books’ appeal was far from universal. Some parents shied from the passage in the debut, The Story of Babar, the Little Elephant, about Babar’s mother being shot and killed by hunters. Numerous critics called the series racist and colonialist, citing Babar’s education in Paris and its influence on his (presumed) Africa-based regime. In 1983, Chilean author Ariel Dorfman would call the books an “implicit history that justifies and rationalizes the motives behind an international situation in which some countries have everything and other countries almost nothing.”

“Babar’s history,” Dorfman wrote, “is none other than the fulfillment of the dominant countries’ colonial dream.”

Adam Gopnik, a Paris-based correspondent for The New Yorker, defended Babar, writing in 2008 that it “is not an unconscious expression of the French colonial imagination; it is a self-conscious comedy about the French colonial imagination and its close relation to the French domestic imagination.”

De Brunhoff himself acknowledged finding it “a little embarrassing to see Babar fighting with Black people in Africa. He especially regretted Babar’s Picnic, a 1949 publication that included crude caricatures of Blacks and American Indians — and asked his publisher to withdraw it.

De Brunhoff was the eldest of three sons born to Jean de Brunhoff and Cecile de Brunhoff, a painter. Babar was created when Cecile de Brunhoff, the namesake for the elephant’s kingdom and Babar’s wife, improvised a story for her kids.

“My mother started to tell us a story to distract us,” de Brunhoff told National Geographic in 2014. “We loved it, and the next day we ran to our father’s study, which was in the corner of the garden, to tell him about it. He was very amused and started to draw. And that was how the story of Babar was born. My mother called him Bebe elephant (French for baby). It was my father who changed the name to Babar. But the first pages of the first book, with the elephant killed by a hunter and the escape to the city, was her story.”

The debut was released in 1931 through the family-run publisher Le Jardin Des Modes. Babar was immediately well received, and Jean de Brunhoff completed four more Babar books before dying six years later, at age 37. Laurent’s uncle, Michael, helped publish two additional works, but no one else added to the series until after World War II, when Laurent, a painter by then, decided to bring it back.

“Gradually I began to feel strongly that a Babar tradition existed and that it ought to be perpetuated,” he wrote in The New York Times in 1952.

De Brunhoff was married twice, most recently to the critic and biographer Phyllis Rose, who wrote the text to many of the recent Babar publications, including the 2017 release billed as the finale, Babar’s Guide to Paris. He had two children, Anne and Antoine, but the author did not consciously write for young people.

“I never really think of children when I do my books,” he told The Wall Street Journal in 2017. “Babar was my friend and I invented stories with him, but not with kids in a corner of my mind. I write it for myself.” 
…