Category: Новини

santa fe, new mexico — A movie weapons supervisor was sentenced to 18 months in prison in the fatal shooting of a cinematographer by Alec Baldwin on the set of the Western film “Rust,” during a hearing Monday in which tearful family members and friends gave testimonials that included calls for justice and a punishment that would instill greater accountability for safety on film sets.

Movie armorer Hannah Gutierrez-Reed was convicted in March by a jury on a charge of involuntary manslaughter in the death of cinematographer Halyna Hutchins and has been held for more than a month at a county jail on the outskirts of Santa Fe.

Prosecutors blamed Gutierrez-Reed for unwittingly bringing live ammunition onto the set of “Rust” where it was expressly prohibited and for failing to follow basic gun safety protocols.

Gutierrez-Reed was unsuccessful in her plea for a lesser sentencing, telling the judge she was not the monster that people have made her out to be and that she had tried to do her best on the set despite not having “proper time, resources and staffing.”

Baldwin, the lead actor and co-producer for “Rust,” was pointing a gun at Hutchins during a rehearsal on a movie set outside Santa Fe in October 2021 when the revolver went off, killing Hutchins and wounding director Joel Souza.

Baldwin has pleaded not guilty to a charge of involuntary manslaughter. He is scheduled for trial in July at a courthouse in Santa Fe.

The sentence against Gutierrez-Reed was delivered by New Mexico Judge Mary Marlowe Summer, who is overseeing proceedings against Baldwin. The judge said anything less than the maximum sentence would not be appropriate given that Gutierrez-Reed’s recklessness amounted to a serious violent offense.

“You were the armorer, the one that stood between a safe weapon and a weapon that could kill someone,” the judge told Gutierrez-Reed. “You alone turned a safe weapon into a lethal weapon. But for you, Ms. Hutchins would be alive, a husband would have his partner and a little boy would have his mother.”

 

Gutierrez-Reed teared up as Hutchins’ agent, Craig Mizrahi, spoke about the cinematographer’s creativity and described her as a rising star in Hollywood. He said it was a chain of events that led to Hutchins’ death and that had the armorer been doing her job, that chain would have been broken.

Los Angeles-based attorney Gloria Allred read a statement by Hutchins’ mother, Olga Solovey, who said her life had been split in two and that time didn’t heal, rather it only prolonged her pain and suffering. A video of a tearful Solovey, who lives in Ukraine, also was played for the court.

“It’s the hardest thing to lose a child. There’s no words to describe,” Solovey said in her native language.

Defense attorneys for Gutierrez-Reed requested leniency in sentencing — including a possible conditional discharge that would avoid further jail time and leave an adjudication of guilt off her record if certain conditions are met.

Gutierrez-Reed was acquitted at trial of allegations she tampered with evidence in the “Rust” investigation. She also has pleaded not guilty to a separate felony charge that she allegedly carried a gun into a bar in Santa Fe where firearms are prohibited.

Defense attorneys have highlighted Gutierrez-Reed’s relatively young age “and the devastating effect a felony will have on her life going forward.”

They said the 26-year-old will forever be affected negatively by intense publicity associated with her prosecution in parallel with an A-list actor, and has suffered from anxiety, fear and depression as a result.

Special prosecutor Kari Morrissey urged the judge to impose the maximum prison sentence and designate Gutierrez-Reed as a “serious violent offender” to limit her eligibility for a sentence reduction later, describing the defendant’s behavior on the set of “Rust” as exceptionally reckless.

Defense attorneys argued Monday that Gutierrez-Reed was remorseful and had breakdowns over Hutchins’ death. They also pointed to systemic problems that led to the shooting.

“Rust” assistant director and safety coordinator Dave Halls last year pleaded no contest to negligent handling of a firearm and completed a sentence of six months unsupervised probation. “Rust” props master Sarah Zachry, who shared some responsibilities over firearms on the set of “Rust,” signed an agreement with prosecutors to avoid prosecution in return with her cooperation.
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ANCIENT OLYMPIA, Greece — No one knows what music in ancient Greece sounded like or how dancers once moved.

Every two years, a new interpretation of the ancient performance gets a global audience. It takes place in southern Greece at a site many still consider sacred: the birthplace of the Olympic Games.

Forty-eight performers, chosen in part for their resemblance to youths in antiquity as seen in statues and other surviving artwork, will take part Tuesday in the flame-lighting ceremony for the Paris Olympics. 

Details of the 30-minute performance are fine-tuned — and kept secret — right up until a public rehearsal Monday.

The Associated Press got rare access to rehearsals that took place during weekends, mostly at an Olympic indoor cycling track in Athens. 

As riders whiz around them on the banked cycling oval, the all-volunteer Olympic performers snatch poses from ancient vases. Sequences are repeated and re-repeated under the direction of the hyper-focused head choreographer Artemis Ignatiou.

“In ancient times there was no Olympic flame ceremony,” Ignatiou said during a recent practice session.

“My inspiration comes from temple pediments, from images on vases, because there is nothing that has been preserved — no movement, no dance — from antiquity,” she said. “So basically, what we are doing is joining up those images. Everything in between comes from us.”

Ceremonies take place at Olympia every two years for the Winter and Summer Games, with the sun’s rays focused on the inside of a parabolic mirror to produce the Olympic flame and start the torch relay to the host city.

Women dressed as priestesses are at the heart of the ceremony, first held for the 1936 Olympics in Berlin. Leading the group is an actress who performs the role of high priestess and makes a dramatic appeal to Apollo, the ancient god of the sun, for assistance moments before the torch is lit.

Over the decades, new ingredients have been progressively added: music, choreography, new colors for the costumes, male performers known as “kouroi” and subtle style inclusions to give a nod to the culture of the Olympic host nation.

Adding complexity also has introduced controversy, inevitably amplified by social media. Criticism this year has centered on the dresses and tunics to be worn by the performers, styled to resemble ancient Greek columns. Faultfinders have called it a rude departure from the ceremony’s customary elegance.

Organizers hope the attire will create a more positive impression when witnessed at the ruins of ancient Olympia.

Counting out the sequences, Ignatiou controls the music with taps on her cell phone while keeping track of the male dancers at the velodrome working on a stop motion-like routine and women who glide past them like a slowly uncoiling spring.

Ignatiou has been involved with the ceremony for 36 years, as priestess, high priestess, assistant and then head choreographer since 2008. She takes in the criticism with composure.

She’s still moved to tears when describing the flame lighting, but defers to her dancers to describe their experience of the five-month participation at practices.

Most in their early twenties, the performers are selected from dance and drama academies with an eye on maintaining an athletic look and classic Greek aesthetic, the women with hair pulled back in neat double-braids.

Christiana Katsimpraki, a 23-year-old drama school student who is taking part at Olympia for the first time, said she wants to repay the kindness shown to her by older performers.

“Before I go to bed, when I close my eyes, I go through the whole choreography — a run through — to make sure I have all the steps memorized and that they’re in the right order,” she said. “It’s so that the next time I can come to the rehearsal, it all goes correctly and no one gets tired.”

The ceremony is performed to sparse music, and final routine modifications are made at Olympia, in part to cope with the pockmarked and uneven ground at the site.

Dancers describe the fun they have in messaging groups, the good-natured pranks played on newcomers and fun they have on the four-hour bus ride to the ancient site in southern Greece — but also the significance of the moment and the pull of the past.

“I’m in awe that we’re going there and that I’m going to be part of this whole team,” 23-year-old performer Kallia Vouidaski said. “I’m going to have this entire experience that I watched when I was little on TV. I would say, ’Oh! How cool would it be if I could do this at some point.’ And I did it.”

The flame-lighting ceremony will start at 0830 GMT Tuesday. A separate flame-handover ceremony to the Paris 2024 organizing committee will be held in Athens on April 26. 
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Foumban, Cameroon — To enter the Museum of the Bamoun Kings in western Cameroon, you have to pass under the fangs of a gigantic two-headed snake — the highlight of an imposing coat of arms of one of the oldest kingdoms in sub-Saharan Africa.

Thousands of Cameroonians gathered in the royal palace square in Foumban on Saturday to celebrate the opening of the Museum of the Bamoun Kings.

Sultan King Mouhammad Nabil Mforifoum Mbombo Njoya welcomed 2,000 guests to the opening of the museum located in Foumban — the historic capital of the Bamoun Kings.

The royal family, descendants of a monarchy that dates back six centuries, attended the event dressed in traditional ceremonial attire with colorful boubous and matching fezzes.

Griot narrators in multicolored boubous played drums and long traditional flutes while palace riflemen fired shots to punctuate the arrival of distinguished guests which included ministers and diplomats.

Then, princes and princesses from the Bamoun chieftaincies performed the ritual Ndjah dance in yellow robes and animal masks.

For Cameroon, such a museum dedicated to the history of a kingdom is “unique in its scope”, Armand Kpoumie Nchare, author of a book about the Bamoun kingdom, told AFP.

“This is one of the rare kingdoms to have managed to exist and remain authentic, despite the presence of missionaries, merchants and colonial administrators,” he said.

The Bamoun kingdom, founded in 1384, is one of the oldest in sub-Saharan Africa.

To honor the Bamoun, the museum was built in the shape of the kingdom’s coat of arms.

A spider, which is over 5,000 square meters (54,000 square feet), sits atop the building while the entrances represent the two-headed serpent.

“This is a festival for the Bamoun people. We’ve come from all over to experience this unique moment,” 50-year-old spectator Ben Oumar said.

“It’s a proud feeling to attend this event. We’ve been waiting for it for a long time,” civil servant Mahamet Jules Pepore said.

The museum contains 12,500 pieces including weapons, pipes and musical instruments — only a few of which were previously displayed in the royal palace.

“It reflects the rich, multi-century creativity of these people, both in terms of craftsmanship and art — Bamoun drawings — as well as the technological innovations of the peasants at various periods: Mills, wine presses etc.,” Nchare said.

Also on display are items from the life of the most famous Bamoun King, Ibrahim Njoya, who reigned from 1889 to 1933 and created Bamoune Script, a writing system that contains over 500 syllabic signs.

The museum exhibits his manuscripts and a corn-grinding machine he invented.

“We pay tribute to a king who was simultaneously a guardian and a pioneer… a way for us to be proud of our past in order to build the future” and “show that Africa is not an importer of thoughts,” Njoya’s great-grandson, the 30-year-old Sultan King Mouhammad said.

To commemorate his grandfather’s work, former Sultan King Ibrahim Mbombo Njoya launched the construction of the museum in 2013 after realizing the palace rooms were too cramped.

The opening of the museum comes months after the Nguon of the Bamoun people, a set of rituals celebrated in a popular annual festival, joined UNESCO’s List of the Intangible Cultural Heritage of Humanity.

 
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