Category: Новини

WASHINGTON — The U.S. House of Representatives is expected to approve legislation Wednesday that would force the popular TikTok video app to either separate from its Chinese-owned parent company ByteDance or sell the U.S. version of the software.

The bipartisan Protecting Americans from Foreign Adversary Controlled Applications Act “gives TikTok six months to eliminate foreign adversary control — which would include ByteDance divesting its current ownership — to remain available in the United States,” said Representative Mike Gallagher, chairman of the House Select Committee on Strategic Competition Between the United States and the Chinese Communist Party, and Representative Raja Krishnamoorthi, the top Democrat on the committee.

“All TikTok would have to do is separate from CCP-controlled ByteDance. However, if TikTok chose not to rid itself of this CCP control, the application would no longer be offered in U.S. app stores. But TikTok would have no one but itself to blame,” the lawmakers said in a prepared statement.

Here’s what we know about the legislation and what happens next in the U.S. Senate.

Why is TikTok under scrutiny?

“The concern is that TikTok could transfer personal information to its parent company ByteDance, who in turn could transfer it to the Chinese government,” Caitlin Chin-Rothmann, a fellow at the Center for Strategic and International Studies, told VOA.

Chin-Rothmann said concerns by some members of Congress about the Chinese Communist Party potentially controlling TikTok’s algorithm for propaganda purposes have not yet been proven.

“That’s not to say that, in the future, there’s not a risk that the Chinese government could exert pressure,” she said.

What does TikTok say about the legislation?

TikTok on Monday called the legislation a “ban” and has repeatedly denied the allegations against it. In a statement last week on X, formerly Twitter, the company said the “legislation has a predetermined outcome: a total ban of TikTok in the United States.”

How do lawmakers view the legislation?

The bill has strong support from House Democrats and Republicans, despite congressional offices receiving floods of phone calls from Americans concerned about losing access to the social media app.

House Speaker Mike Johnson told reporters last week, “It’s an important bipartisan measure to take on China, our largest geopolitical foe, which is actively undermining our economy and security.”

What about the Senate?

The bill could face a much harder road to passage in the Democratic-controlled Senate, where Majority Leader Chuck Schumer has said it will face consideration in the appropriate committees.

“I will listen to their views on the bill and determine the best path,” Schumer said in a statement.

Some Senate Democrats, including Mark Warner, chairman of the Senate Select Committee on Intelligence, have expressed doubts about the legality of singling out a social media app in legislation. He has introduced alternative legislation more broadly targeting apps that collect personal data.

But Warner told CBS News on Sunday that the TikTok app is a serious national security concern.

“If you don’t think the Chinese Communist Party can twist that algorithm to make it the news that they see reflective of their views, then I don’t think you appreciate the nature of the threat,” Warner said.

How do the leading 2024 presidential candidates feel about the bill?

The White House said it welcomes the legislation, even though the Biden campaign joined TikTok recently as an effort to reach out to younger voters.

White House press secretary Karine Jean-Pierre told reporters the bill ensures “ownership isn’t in the hands of those who may do us harm.”

Former President Donald Trump — who initially called for a ban of the app in 2020 — has now changed course, arguing that Facebook will be empowered if TikTok is no longer available.

“There’s a lot of good, and there’s a lot of bad with TikTok. But the thing I don’t like is that without TikTok, you’re going to make Facebook bigger,” the presumptive 2024 Republican presidential nominee told U.S. cable network CNBC in a phone interview this week.

What happens once the bill passes the House?

Apart from constitutional concerns over preventing U.S. citizens from exercising their right to free speech, the bill could also be difficult to legally enforce and face challenges in U.S. courts.

“Chinese export control laws could potentially prevent the sale of TikTok’s algorithm,” Chin-Rothmann said. “A divestiture would be very logistically difficult, in general. TikTok is one of the largest companies in the world. So, any buyer would have to be very large, as well. They would have to have a strategic interest in purchasing TikTok, and then the merger would have to not raise antitrust concerns in the United States.”
…

…

…

…

…

Los Angeles — “Oppenheimer,” a solemn three-hour biopic that became an unlikely billion-dollar box-office sensation, was crowned best picture at a 96th Academy Awards that doubled as a coronation for Christopher Nolan.

After passing over arguably Hollywood’s foremost big-screen auteur for years, the Oscars made up for lost time by heaping seven awards on Nolan’s blockbuster biopic, including best actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and best director for Nolan.

In anointing “Oppenheimer,” the Academy of Motion Pictures Arts and Sciences did something it hasn’t done for more than a decade: hand its top prize to a widely seen, big-budget studio film. In a film industry where a cape, dinosaur or Tom Cruise has often been a requirement for such box office, “Oppenheimer” brought droves of moviegoers to theaters with a complex, fission-filled drama about J. Robert Oppenheimer and the creation of the atomic bomb.

“For better or worse, we’re all living in Robert Oppenheimer’s world,” said Murphy in his acceptance speech. “I’d like to dedicate this to the peacemakers.” 

As a film heavy with unease for human capacity for mass destruction, “Oppenheimer” also emerged – even over its partner in cultural phenomenon, “Barbie” – as a fittingly foreboding film for times rife with cataclysm, man-made or not. Sunday’s Oscars at the Dolby Theatre in Los Angeles unfolded against the backdrop of wars in Gaza and Ukraine, and with a potentially momentous U.S. election on the horizon.

The most closely watched contest of the Academy Awards went to Emma Stone, who won best best actress for her performance as Bella Baxter in “Poor Things.”

In what was seen as the night’s most nail-biting category, Stone won over Lily Gladstone of “Killers of the Flower Moon.” Gladstone would have become the first Native American to win an Academy Award.

Instead, Oscar voters couldn’t resist the full-bodied extremes of Stone’s “Poor Things” performance. The win for Stone, her second best actress Oscar following her 2019 win for “La La Land,” confirmed the 35-year-old as arguably the preeminent big-screen actress of her generation. The list of women to win best actress two or more times is illustrious, including Katherine Hepburn, Frances McDormand, Ingrid Bergman and Bette Davis.

“Oh, boy, this is really overwhelming,” said Stone. 

Nolan has had many movies in the Oscar mix before, including “Inception,” “Dunkirk” and “The Dark Knight.” But his win Sunday for direction is the first Academy Award for the 53-year-old filmmaker.

In his acceptance speech, Nolan noted cinema is just over a hundred years old. 

“We don’t know where this incredible journey is going from here,” said Nolan. “But to think that I’m a meaningful part of it means the world to me.”

Protest and politics intruded on an election-year Academy Awards on Sunday, where demonstrations for Gaza raged outside the Dolby Theatre in Los Angeles, and awards went to “Oppenheimer,” “The Zone of Interest” and “20 Days in Mariupol.” 

Sunday’s broadcast, hosted by Jimmy Kimmel, had plenty of razzle dazzle, including a sprawling song-and-dance rendition of the “Barbie” hit “I’m Just Ken” by Ryan Gosling, with an assist on guitar by Slash. A sea of Kens swarmed the stage. 

The lead winner, as expected was “Oppenheimer,” the blockbuster biopic. Though not quite the clean sweep that some expected, “Oppenheimer” was overpowering all competition — including its release-date companion, “Barbie” — winning awards for its cinematography, editing, score and Robert Downey Jr.’s supporting performance. 

Downey, nominated twice before (for “Chaplin” and “Tropic Thunder”), notched his first Oscar, crowning the illustrious second act of his up-and-down career. 

“I’d like to thank my terrible childhood and the academy, in that order,” said Downey, the son of filmmaker Robert Downey Sr. 

“Barbie,” last year’s biggest box-office hit with more than $1.4 billion in ticket sales, didn’t win an award until almost three hours into the ceremony. It won best song (sorry, Ken) for Billie Eilish and Finneas’ “What Was I Made For?” It’s their second Oscar, two years after winning for their James Bond theme, “No Time to Die.” 

But after an awards season that stayed largely inside a Hollywood bubble, geopolitics played a prominent role. Protests over Israel’s war in Gaza snarled traffic around the Dolby Theatre in Los Angeles, slowing stars’ arrival on the red carpet and turning the Oscar spotlight toward the ongoing conflict. Some protesters shouted “Shame!” at those trying to reach the awards. 

Jonathan Glazer, the British filmmaker whose chilling Auschwitz drama “The Zone of Interest” won best international film, drew connections between the dehumanization depicted in his film and today. 

“Right now, we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October the 7th in Israel, or the the ongoing attack on Gaza, all the victims, this dehumanization, how do we resist?”

The war in Gaza was on the minds of many attendees, as was the war in Ukraine. A year after “Navalny” won the same award, Mstyslav Chernov’s “20 Days in Mariupol,” a harrowing chronicle of the early days of Russia’s invasion of Ukraine, won best documentary. The win, a first for The Associated Press and PBS’ “Frontline,” came as the war in Ukraine passed the two-year mark with no signs of abating. 

Mstyslav Chernov, the Ukrainian filmmaker and AP journalist whose hometown was bombed the day he learned of his Oscar nomination, spoke forcefully about Russia’s invasion. 

“This is the first Oscar in Ukrainian history,” said Chernov. “And I’m honored. Probably I will be the first director on this stage to say I wish I’d never made this film. I wish to be able to exchange this (for) Russia never attacking Ukraine.”

In the early going, Yorgos Lanthimos’ Frankenstein-riff “Poor Things” ran away with three prizes for its sumptuous craft, including awards for production design, makeup and hairstyling and costume design. 

Kimmel, hosting the ABC telecast for the fourth time, opened the awards with a monologue that drew a few cold looks (from Downey, Sandra Hüller and Messi, the dog from best-picture nominee “Anatomy of a Fall”). But Kimmel, emphasizing Hollywood as “a union town” following 2023’s actor and writer strikes, drew a standing ovation for bringing out teamsters and behind-the-scenes workers — who are now entering their own labor negotiations. 

The night’s first award was one of its most predictable: Da’Vine Joy Randolph for best supporting actress, for her performance in Alexander Payne’s “The Holdovers.” An emotional Randolph was accompanied to the stage by her “Holdovers” co-star Paul Giamatti.

 

“For so long I’ve always wanted to be different,” said Randolph. “And now I realize I just need to be myself.” 

Though Randolph’s win was widely expected, an upset quickly followed. Hayao Miyazaki’s “The Boy and the Heron” won for best animated feature, a surprise over the slightly favored “Spider-Man: Across the Spider-Verse.” Miyazaki, the 83-year-old Japanese anime master who came out of retirement to make “The Boy and the Heron,” didn’t attend the ceremony. He also didn’t attend the 2003 Oscars when his “Spirited Away” won the same award. 

Best original screenplay went to “Anatomy of a Fall,” which, like “Barbie,” was penned by a couple: director Justine Triet and Arthur Harari. “This will help me through my midlife crisis, I think,” said Triet. 

In adapted screenplay, where “Barbie” was nominated — and where some suspected Greta Gerwig would win after being overlooked for director — the Oscar went to Cord Jefferson, who wrote and directed his feature film debut “American Fiction.” He pleaded for executives to take risks on young filmmakers like himself.

“Instead of making a $200 million movie, try making 20 $10 million movies,” said Jefferson, previously an award-winning TV writer. 

The Oscars belonged largely to theatrical-first films. Though it came into the awards with 19 nominations, Netflix was a bit player. Its lone win came for live action short: Wes Anderson’s “The Wonderful Story of Henry Sugar,” based on the story by Roald Dahl.

While “Barbie” bested (and helped lift) “Oppenheimer” at the box office, it took a back seat to Nolan’s film at the Oscars. Gerwig was notably overlooked for best director, sparking an outcry that some, even Hillary Clinton, said mimicked the patriarchy parodied in the film.
…

Dohuk, Iraq — Huddled in the back of a van, Rebin Pishtiwan carefully scans one yellowed page after another, as part of his mission to digitize historic Kurdish books at risk of disappearing.

Seen as the world’s largest stateless people, the Kurds are an ethnic group of between 25 million and 35 million mostly spread across modern-day Iraq, Iran, Syria and Turkey.

In Iraq, the Kurds are a sizeable minority who have been persecuted, with thousands killed under the rule of late dictator Saddam Hussein and many of their historic documents lost or destroyed.

“Preserving the culture and history of Kurdistan is a sacred job,” said Pishtiwan, perusing volumes and manuscripts from Dohuk city’s public library in Iraq’s northern autonomous Kurdistan region.

“We aim to digitize old books that are rare and vulnerable, so they don’t vanish,” the 23-year-old added, a torn memoir of a Kurdish teacher published in 1960 in hand.

In Iraq, the Kurdish language was mostly marginalized until the Kurds’ autonomous region in the north won greater freedom after Saddam Hussein’s defeat in the 1990-1991 Gulf War.

After the U.S.-led invasion of 2003 toppled the dictator, remaining documents were scattered among libraries and universities or held in private collections.

Once a week, Pishtiwan and his two colleagues journey in their small white van from the regional capital Irbil to other Kurdish towns and cities to find “rare and old” books.

They seek texts that offer insights into Kurdish life, spanning centuries and dialects.

In Dohuk’s library, the archiving team scours the wooden bookshelves for hidden gems.

With the help of the library’s manager, they carefully gather an assortment of more than 35 books of poetry, politics, language and history, written in several Kurdish dialects and some in Arabic.

Pishtiwan holds up a book of old Kurdish folk stories named after 16th-century Kurdish princess Xanzad, before gently flipping through the fragile pages of another religious volume, tracing the calligraphy with his fingers.

Back in the van, equipped with two devices connected to a screen, the small team starts the hourslong scanning process before returning the books to the library.

In the absence of an online archive, the Kurdistan Center for Arts and Culture, a nonprofit founded by the nephew of regional President Nechirvan Barzani, launched the digitization project in July.

They hope to make the texts available to the public for free on the KCAC’s new website in April.

More than 950 items have been archived so far, including a collection of manuscripts from the Kurdish Baban principality in today’s Sulaimaniyah region that dates back to the 1800s.

“The aim is to provide primary sources for Kurdish readers and researchers,” KCAC executive director Mohammed Fatih said. “This archive will be the property of all Kurds to use and to help advance our understanding of ourselves.”

Dohuk library manager Masoud Khalid gave the KCAC team access to the manuscripts and documents gathering dust on its shelves, but the team was unable to secure permission from the owners of some of the documents to digitize them immediately.

“We have books that were printed a long time ago — their owners or writers passed away — and publishing houses will not reprint them,” Khalid said.

Digitizing the collection means that “if we want to open an electronic library, our books will be ready,” the 55-year-old added.

Hana Kaki Hirane, imam at a mosque in the town of Hiran, unveiled a treasure to the KCAC team — several generations-old manuscripts from a religious school established in the 1700s.

Since its founding, the school has collected manuscripts, but many were destroyed during the first war pitting the Kurds against the Iraqi state between 1961 and 1970, said Hirane.

“Only 20 manuscripts remain today,” including centuries-old poems, said the imam.

He is now waiting for the KCAC website launch in April to refer people to view the manuscripts.

“It is time to take them out and make them available for everyone,” he said.
…

Los Angeles — As Universal Pictures prepared for a big night at the Academy Awards with “Oppenheimer,” the studio also celebrated the No. 1 debut of “Kung Fu Panda 4,” which collected $58.3 million in domestic theaters over the weekend, according to estimates Sunday.

“Kung Fu Panda 4,” the first film in the DreamWorks Animation franchise since the third installment in 2016, got off to a better start than all but the 2008 original. That “Kung Fu Panda,” which began the mystical adventures of Jack Black’s panda warrior Po, launched with $60.2 million.

Working in favor of “Kung Fu Panda 4”: It’s the first big family movie since “Migration” and “Wonka” hit theaters in December. “Kung Fu Panda 4” added $22 million internationally.

The news was just as good for last week’s top film, “Dune: Part Two.” Denis Villeneuve’s sci-fi epic sequel held strongly in its second week, dropping a modest 44%. It grossed $46 million in its second week, bringing its domestic cumulative total to $157 million for Warner Bros. and Legendary Pictures.

Riding strong reviews, great word-of-mouth and plenty of sandworms, “Dune: Part Two” appears well set up for a long theatrical run. Most of Sunday’s Oscar nominees have already moved on to home viewing platforms, but “Dune” could wind up at next year’s Academy Awards.

Opening in third place was the Lionsgate, Blumhouse horror release “Imaginary,” about a sinister teddy bear. It debuted with $10 million.

Following it was “Cabrini,” a portrait of the 19th century Catholic missionary Saint Frances Xavier Cabrini (played by Cristiana Dell’Anna). The film, released by the Christian-based company Angel Studios, the studio behind the 2023 surprise hit “Sound of Freedom,” collected $7.5 million.

A24 also debuted the critically acclaimed neo-noir “Love Lies Bleeding,” starring Kristen Stewart, on five screens in New York and Los Angeles. It grossed $167,463 for a good per-screen average of $33,493.

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

1. “Kung Fu Panda 4,” $58.3 million.

2. “Dune: Part Two,” $46 million.

3. “Imaginary,” $10 million.

4. “Cabrini,” $7.6 million.

5. “Bob Marley: One Love,” $4.1 million.

6. “Ordinary Angels,” $2 million.

7. “Madame Web,” $1.1 million.

8. “Migration,” $1.1 million.

9. “YOLO,” $840,000

10. MET Opera: “La Forza del Destino,” $768,000.
    …