Category: Новини

Throngs of fans lined the streets of Sinead O’Connor’s former hometown in Ireland to bid farewell to the gifted singer as her funeral procession passed by Tuesday following a private memorial service.

A vintage VW camper van with rooftop speakers blasting Bob Marley’s song “Natural Mystic” led a hearse at walking pace through a thick crowd of admirers along the waterfront in Bray. O’Connor said she loved Marley’s music.

Devotees of O’Connor’s singing and those touched by her sometimes-troubled life tossed roses and other flowers on the hearse.

A group that had been waiting for well over an hour outside O’Connor’s former home, singing her songs at times, began to clap as four police officers on motorcycles leading the cortege approached and the procession came to a halt.

They snapped photos through the windows of the hearse where her coffin was dwarfed by a pile of blue hydrangeas and pink roses.

Ruth O’Shea, who had come to the coastal town of Bray south of Dublin with her two daughters, became teary as she spoke of O’Connor’s significance, saying she had “meant the world” to her.

“She was so rebellious and empowering and inspiring, and my mother hated me listening to her music,” O’Shea said. “She was just brilliant. Brilliant — I loved her, and then the kids, I suppose by osmosis because I played her when they were both growing up, they’d go, ‘Oh God, mom’s listening to Sinead O’Connor, she’s obviously had a rough day.’ She just gave me hope. And I just loved her, I loved her.”

O’Connor, 56, was found unresponsive at her London home on July 26. Police have not shared a cause of death, though they said her death was not suspicious.

O’Connor’s family had invited the public to pay their respects during the funeral procession.

“Sinead loved living in Bray and the people in it,” her family said in a statement. “With this procession, her family would like to acknowledge the outpouring of love for her from the people of Wicklow (county) and beyond, since she left … to go to another place.”

Fans tucked handwritten notes and flowers behind a chain wrapped around a granite post at the entrance to her former home, thanking her for sharing her voice and her music. One sign listed causes that the singer had expressed support for, including welcoming refugees.

“Thanks for your short special life,” one note read. “Gone too soon.”

O’Connor, a multi-octave mezzo soprano of extraordinary emotional range who was recognizable by her shaved head, began her career singing on the streets of Dublin and soon rose to international fame.

She became a sensation in 1990 with her cover of Prince’s ballad “Nothing Compares 2 U,” which topped charts from Europe to Australia.

She was a critic of the Roman Catholic Church well before allegations of sexual abuse were widely reported. She made headlines in October 1992 when she tore up a photo of Pope John Paul II while appearing on NBC’s “Saturday Night Live” and denounced the church as the enemy.

She was public about her struggles with mental illness. When her teenage son Shane died by suicide last year, O’Connor tweeted there was “no point living without him” and she was soon hospitalized. Her final tweet, sent July 17, read “For all mothers of Suicided children,” and linked to a Tibetan compassion mantra.

Since her death, celebrities have paid tribute to her, and ordinary people have shared acts of kindness she performed.
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Watching news of Russia’s invasion of Ukraine, U.S. comic book editor Scott Dunbier felt compelled to help. He reached out to comic book professionals to create “Comics for Ukraine: Sunflower Seeds” to raise funds to provide emergency supplies and services to Ukrainians. Genia Dulot has this report.
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William Friedkin, the Oscar-winning director who became a top filmmaker in his 30s with the gripping “The French Connection” and the horrifying “The Exorcist” and struggled in the following decades to match his early success has died. He was 87.

Friedkin, who won the best director Oscar for “The French Connection,” died Monday in Los Angeles, Marcia Franklin, his executive assistant for 24 years, told The Associated Press on behalf of his family and wife, former studio head Sherry Lansing.

“The French Connection,” based on a true story, deals with the efforts of maverick New York City police Detective James “Popeye” Doyle to track down Frenchman Fernando Rey, mastermind of a large drug pipeline funneling heroin into the United States. It contains one of the most thrilling chase scenes ever filmed.

Doyle, played by Gene Hackman in an Oscar-winning performance, barely misses making the arrest on a subway train, then hurries to his police car to follow the train as it emerges on an elevated railway. He races underneath, dodging cars, trucks and pedestrians, including a woman pushing a baby buggy, before abandoning the pursuit.

The movie also won Academy Awards for best picture, screenplay and film editing and led critics to hail Friedkin, then just 32, as a leading member of a new generation of filmmakers.

He followed with an even bigger blockbuster, “The Exorcist,” based on William Peter Blatty’s best-selling novel about a 12-year-old girl possessed by the devil.

The harrowing scenes of the girl’s possession and a splendid cast, including Linda Blair as the girl, Ellen Burstyn as her mother and Max Von Sydow and Jason Miller as the priests who try to exorcise the devil from her, helped make the film a box-office sensation.

It received 10 Oscar nominations, including one for Friedkin as director, and won two, for Blatty’s script and for sound.

With that second success, Friedkin would go on to direct movies and TV shows well into the 21st century. But he would never again come close to matching the success of those early works.

Other film credits included “To Live and Die in L.A.,” “Cruising,” “Rules of Engagement” and a TV remake of the classic play and Sidney Lumet movie “12 Angry Men.” Friedkin also directed episodes for such TV shows as “The Twilight Zone,” “Rebel Highway” and “CSI: Crime Scene Investigation.”

Born in Chicago on August 29, 1939, he began working in local TV productions as a teenager. By age 16 he was directing live shows.

“My main influence was dramatic radio when I was a kid,” he said in a 2001 interview. “I remember listening to it in the dark, everything was left to the imagination. It was just sound. I think of the sounds first and then the images.”

He moved from live shows to documentaries, making “The People Versus Paul Crump,” in 1962. It was the story of a prison inmate who rehabilitates himself on Death Row after being sentenced for the murder of a guard during a botched robbery at a Chicago food plant.

Producer David Wolper was so impressed with it that he brought Friedkin to Hollywood to direct network TV shows.

After working on such shows as “The Bold Ones,” “The Alfred Hitchcock Hour” and the documentary “The Thin Blue Line,” Friedkin landed his first film, 1967’s “Good Times.” It was a lighthearted musical romp headlined by the pop duo Sonny and Cher.

He followed that with “The Night They Raided Minsky’s,” about backstage life at a burlesque theater, and “The Birthday Party,” from a Harold Pinter play. He then gained critical attention with 1970’s “The Boys in the Band,” a landmark film about gay men.

Friedkin had three brief marriages in the 1970s and ’80s, to French actress Jeanne Moreau; British actress Lesley-Anne Down, with whom he had a son; and longtime Los Angeles TV news anchor Kelly Lange. In 1991 he married Paramount studio executive Lansing.

In recent years, Friedkin was often called on to reflect on his career around the 50th anniversaries of his classics and was always candid. He also wrote a memoir, The Friedkin Connection, which came out in 2012. And he wasn’t done working: A new film, “The Caine Mutiny Court-Martial,” starring Kiefer Sutherland, is set to premiere at the Venice Film Festival next month.
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K-pop star Suga, songwriter and rapper for the boy band supergroup BTS, has begun the enlistment process for mandatory military service, the band’s label said on Monday, making him the third band member to go off to perform the military duty.

“We would like to inform our fans that SUGA has initiated the military enlistment process by applying for the termination of his enlistment postponement,” Big Hit Music said in a statement.

All able-bodied South Korean men ages 18-28 must serve in the military for about two years.

Under a 2019 revision of the law, globally recognized K-pop stars were allowed to put off their service until the age of 30. Parliament is now debating a new amendment that would allow K-pop stars to do just three weeks of military training.

In April, J-Hope, another member of Grammy-nominated BTS, began his mandatory military service, following Jin, the oldest, who joined the military in December.

“We ask you for your continued love and support for SUGA until he completes his military service and safely returns,” the label said.

Suga went on his first solo world tour earlier this year, running his YouTube talk show.
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Greta Gerwig should be feeling closer to fine these days. In just three weeks in theaters, “Barbie” is set to sail past $1 billion in global ticket sales, breaking a record for female directors that was previously held by Patty Jenkins, who helmed “Wonder Woman.”

“Barbie,” which Gerwig directed and co-wrote, added another $53 million from 4,178 North American locations this weekend according to studio estimates on Sunday. The Margot Robbie-led and produced film has been comfortably seated in first place for three weeks and it’s hardly finished yet. Warner Bros. said the film will cross $1 billion before the end of the day.

In modern box office history, just 53 movies have made over $1 billion, not accounting for inflation, and “Barbie” is now the biggest to be directed by one woman, supplanting “Wonder Woman’s” $821.8 million global total. Three movies that were co-directed by women are still ahead of “Barbie,” including “Frozen” ($1.3 billion) and “Frozen 2” ($1.45 billion) both co-directed by Jennifer Lee and “Captain Marvel” ($1.1 billion), co-directed by Anna Boden. But, “Barbie” has passed “Captain Marvel” domestically with $459.4 million (versus $426.8 million), thereby claiming the North American record for live-action movies directed by women.

New competition came this weekend in the form of the animated, PG-rated “Teenage Mutant Ninja Turtles: Mutant Mayhem” and the Jason Statham shark sequel, “Meg 2: The Trench,” both of which were neck-in-neck with Christopher Nolan’s “Oppenheimer,” also in its third weekend, for the second-place spot.

“Meg 2” managed to sneak ahead and land in second place. It overcame its abysmal reviews to score a $30 million opening weekend from 3,503 locations. The Warner Bros. release, directed by Ben Wheatley, currently has a 29% critics’ score on Rotten Tomatoes and a B- CinemaScore from audiences. The thriller was released in 3D, which accounted for 22% of its first weekend business.

Third place went to “Oppenheimer,” which added $28.7 million from 3,612 locations in North America, bringing its domestic total to $228.6 million. In just three weeks, the J. Robert Oppenheimer biopic starring Cillian Murphy has become the highest grossing R-rated film of the year (ahead of “John Wick Chapter 4”) and the sixth-biggest of the year overall, surpassing “Ant-Man and the Wasp: Quantumania.”

“Oppenheimer” also celebrated a landmark, crossing $500 million globally in three weeks. Its worldwide tally is currently $552.9 million, which puts it ahead of “Dunkirk,” which clocked out with $527 million in 2017, and has become Nolan’s fifth-biggest movie ever. It’s also now among the four top grossing biographies ever (company includes “Bohemian Rhapsody,” “The Passion of the Christ” and “American Sniper”) and the biggest World War II movie of all time.

Paramount’s “Teenage Mutant Ninja Turtles” was close behind in fourth place with an estimated $28 million from 3,858 theaters in North America. Since opening on Wednesday, the film, which is riding on excellent reviews (96% on Rotten Tomatoes) and audience scores, has earned $43.1 million.

“This is one of those movies that is a multigenerational joy,” said Chris Aronson, Paramount’s president of domestic distribution. “I think the enduring popularity of ‘Turtles’ is showing its true colors. And there hasn’t been an animated film in eight weeks and there won’t be another for eight weeks which is great for us.”

“Turtles” cost $70 million to produce and features a starry voice cast that includes Jackie Chan, Ice Cube, Paul Rudd, Ayo Edebiri and Seth Rogen, who produced and co-wrote the film, which leans into the “teenage” aspect of the turtles.

“Barbie,” “Oppenheimer” and even the surprise, anti-trafficking hit “Sound of Freedom” (now at $163.5 million and ahead of “Mission: Impossible 7”) have helped fuel a boom at the box office, bringing in many millions more than was expected and helping to offset pains caused by some summer disappointments.

“After ‘The Flash,’ ‘Indiana Jones’ and, to a certain extent, ‘Mission: Impossible,’ people were saying the summer was a disappointment. But it’s not over yet,” said Paul Dergarabedian, the senior media analyst for Comscore. “We’re going to have a summer that is going to go out on a high note.”

But the moment of triumph for the industry will likely be short lived if the studios can’t reach an agreement with striking actors and writers soon. The fall release calendar has already gotten slimmer, with some studios pushing films into 2024 instead of trying to promote them without movie stars.

Sony had planned to release its PlayStation-inspired true story “Gran Turismo” in theaters nationwide next Friday, but will now be rolling it out slowly for two weeks before going wide on Aug. 25. The thinking? If movie stars can’t promote the film, maybe audiences can.

“We have to be realistic,” Dergarabedian said. “We’re on this emotional high of movies doing so well, but we have to temper our enthusiasm and optimism with the fact that the strike is creating a lot of uncertainty. The longer it goes on the more profound the issues become. But the audience has spoken and they love going to the movie theater.”

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

1. “Barbie,” $53 million.

2. “Meg 2: The Trench,” $30 million.

3. “Oppenheimer,” $28.7 million.

4. “Teenage Mutant Ninja Turtles: Mutant Mayhem,” $28 million.

5. “Haunted Mansion,” $9 million.

6. “Sound of Freedom,” $7 million.

7. “Mission: Impossible — Dead Reckoning Part I,” $6.5 million.

8. “Talk to Me,” $6.3 million.

9. “Rocky Aur Rani Kii Prem Kahaani,” $1.5 million.

10. “Indiana Jones and the Dial of Destiny,” $1.5 million.
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The tidal wave of artificial intelligence (AI) barrelling toward many professions has generated deep anxiety among workers fearful that their jobs will be swept away — and the mental health impact is rising.

The launch in November 2022 of ChatGPT, the generative AI platform capable of handling complex tasks on command, marked a tech landmark as AI started to transform the workplace.

“Anything new and unknown is anxiety-producing,” Clare Gustavsson, a New York therapist whose patients have shared concerns about AI, told AFP.

“The technology is growing so fast, it is hard to gain sure footing.”

Legal assistants, programmers, accountants and financial advisors are among those professions feeling threatened by generative AI that can quickly create human-like prose, computer code, articles or expert insight.

Goldman Sachs analysts see generative AI impacting, if not eliminating, some 300 million jobs, according to a study published in March.

“I anticipate that my job will become obsolete within the next 10 years,” Eric, a bank teller, told AFP, declining to give his second name.

“I plan to change careers. The bank I work for is expanding AI research.”

Trying to ’embrace the unknown’

New York therapist Meris Powell told AFP of an entertainment professional worried about AI being used in film and television production — a threat to actors and screenwriters that is a flashpoint in strikes currently gripping Hollywood.

“It’s mainly people who are in creative fields who are at the forefront of that concern,” Gustavsson said.

AI is bringing with it a level of apprehension matched by climate change and the Covid-19 pandemic, she contended.

But she said that she tries to get patients to “embrace the unknown” and find ways to use new technology to their advantage.

For one graphic animator in New York, the career-threatening shock came from seeing images generated by AI-infused software such as Midjourney and Stable Diffusion that rivaled the quality of those created by humans.

“People started to realize that some of the skills they had developed and specialized in could possibly be replaced by AI,” she told AFP, adding she had honed her coding skills, but now feels even that has scant promise in an AI world.

“I’ll probably lean into more of a management-level role,” she said. “It’s just hard because there are a lot less of those positions.

“Before I would just pursue things that interested me and skills that I enjoy. Now I feel more inclined to think about what’s actually going to be useful and marketable in the future.”

Peter Vukovic, who has been chief technology officer at several startups, expects just one percent or less of the population to benefit from AI.

“For the rest, it’s a gray area,” Vukovic, who lives in Bosnia, said. “There is a lot of reason for 99 percent of people to be concerned.”

AI is focused on efficiency and making money, but it could be channeled to serve other purposes, Vukovic said.

“What’s the best way for us to use this?” he asked. “Is it really just to automate a bunch of jobs?”
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It’s almost midnight in Taipan — a remote village in southwest Guizhou province — but the championship game is only just getting under way after a weekend of action.

Clanging pots and pans punctuate the hum of the crowd in the steep main stands, while millions of online viewers and social media users hold their breath as the jump ball is tossed.

This is China’s village basketball, a grassroots phenomenon that has spiraled in recent years from a humble local tradition into a viral hit and staple of Beijing’s propaganda machine.

Basketball is hugely popular in the country, but widespread corruption and recent investigations into match-fixing within the CBA, China’s top domestic league, have discouraged many fans and diverted their attention elsewhere.

“As soon as I arrived in Taipan village, the first thing I sensed was a feeling of enthusiasm and excitement,” Xia Wenxian told AFP.

Xia, 30, has come as part of a team proudly representing his home village of Gaoding, tucked away in the rugged hills of Guizhou more than 100 kilometers away.

“Our CunBA has the same competitive sporting spirit as the CBA and NBA,” Xia said, as he prepared for his team’s crucial semifinal match later that evening.

Local custom gone viral

The tradition of holding annual basketball competitions goes back decades in Taipan, a village in minority-dominated Qiandongnan Miao and Dong Autonomous Prefecture, but only in the past few years has the concept caught on beyond the local area.

It’s an unlikely site for a national tourist attraction, but the roaring success of the CunBA on Chinese social media and glowing praise by official press have brought throngs of visitors this summer.

In Taipan’s main thoroughfare on the afternoon before the final, locals in traditional Miao clothing lay out fruit and other items for sale as a police helicopter makes noisy circles above and eager spectators arrive from far and wide.

Organizers say the densely packed village stadium holds over 20,000 fans — more than 16 times Taipan’s population of 1,200.

China’s official news agency Xinhua said that collective online viewership of CunBA competitions has topped 100 million.

The rise of village basketball has provided a golden opportunity for businesses and politicians to capitalize on the public ardor.

A brochure handed out in Taipan by the local county’s culture and tourism bureau expounds upon the CunBA’s recent success, calling it “a window to observe Chinese-style modernization,” a slogan often employed by China’s ruling communist party.

In between the sometimes rain-soaked contests, there are impassioned musical performances featuring dancers from minority groups wearing brightly colored clothing, projecting a rosy image of ethnic harmony and respect for local customs.

Chinese state-backed media has also jumped in, with the Global Times saying the CunBA is “aimed not only at enriching the leisure activities of rural residents but also at promoting rural revitalization and the construction of a strong agricultural nation.”

During halftime at one game, fans waved dozens of huge Chinese flags while performers in costumes resembling the military uniforms worn by the People’s Liberation Army in the 1940s marched across the court.

Crimson banners adorn the village’s buildings, with one reading “rural sports, letting the light of the countryside illuminate the future.”

“CunBA, unite and work hard, advance forward bravely!” reads another.

Above the court, a sign reads: “All ethnic groups enjoy sporting events together, carrying forward Chinese spirit, gathering Chinese power.”

Booming business

As the CunBA grows in popularity, so too does its profitability.

In late July, NBA star Jimmy Butler paid a visit to Taipan village, where he was greeted by thousands of adoring fans and players with whom he dribbled and made practice shots on the court.

Butler, who earlier this year led his Miami Heat to an appearance at the NBA Finals, is an official marketing partner of leading Chinese sportswear brand Li-Ning.

One week after the NBA star left, Taipan village was still buzzing with excitement.

Li Wending, 44, brought his two sons — both huge fans of American star Stephen Curry — from neighboring Hunan to watch the final day’s play.

“The atmosphere at these village games is always amazing,” Li told AFP.

“For CBA games, we can just watch them online, but for CunBA, it’s so much better to come to the actual site and experience the excitement of the fans.”
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