Category: Новини

Newton N. Minow, who as Federal Communications Commission chief in the early 1960s famously proclaimed that network television was a “vast wasteland,” died Saturday. He was 97.

Minow, who received a Presidential Medal of Freedom in 2016, died Saturday at home, surrounded by loved ones, said his daughter, Nell Minow.

“He wanted to be at home,” she told The Associated Press. “He had a good life.”

Though Minow remained in the FCC post just two years, he left a permanent stamp on the broadcasting industry through government steps to foster satellite communications, the passage of a law mandating UHF reception on TV sets and his outspoken advocacy for quality in television.

“My faith is in the belief that this country needs and can support many voices of television — and that the more voices we hear, the better, the richer, the freer we shall be,” Minow once said. “After all, the airways belong to the people.”

Minow was appointed as FCC chief by President John F. Kennedy in early 1961. He had initially come to know the Kennedys in the 1950s as an aide to Illinois Gov. Adlai Stevenson, the Democrats’ presidential nominee in 1952 and 1956.

Minow laid down his famous challenge to TV executives on May 9, 1961, in a speech to the National Association of Broadcasters, urging them to sit down and watch their station for a full day, “without a book, magazine, newspaper, profit-and-loss sheet or rating book to distract you.”

“I can assure you that you will observe a vast wasteland,” he told them. “You will see a procession of game shows, formula comedies about totally unbelievable families, blood and thunder, mayhem, violence, sadism, murder, Western bad men, Western good men, private eyes, gangsters, more violence and cartoons. And, endlessly, commercials — many screaming, cajoling and offending.”

As he spoke, the three networks were just about all most viewers had to choose from. Pay television was barely in the planning stage, PBS and Sesame Street were several years away, and HBO and niche channels such as Animal Planet were far in the future.

The speech caused a sensation. “Vast wasteland” became a catch phrase. Jimmy Durante opened an NBC special by saying, “Da next hour will be dedicated to upliftin’ da quality of television. … At least, Newt, we’re tryin’.”

Minow became the first government official to get a George Foster Peabody award for excellence in broadcasting. The New York Times critic Jack Gould (himself a Peabody winner) wrote, “At long last there is a man in Washington who proposes to champion the interests of the public in TV matters and is not timid about ruffling the industry’s most august feathers. Tonight some broadcasters were trying to find dark explanations for Mr. Minow’s attitude. In this matter the viewer possibly can be a little helpful; Mr. Minow has been watching television.”

CBS President Frank Stanton strongly disagreed, calling Minow’s comments a “sensationalized and oversimplified approach” that could lead to ill-advised reforms “on the ground that any change is a change for the better.”

For the criticism over his speech, Minow said he didn’t support censorship, preferring exhortation and measures to broaden public choices. But he also said a broadcasting license was “an enormous gift” from the government that brought with it a responsibility to the public.

His daughter, Nell Minow, told The Associated Press in 2011 that her father loved television and wished he would have been remembered for championing the public interest in television programming, rather than just a few words in his much broader speech.

“His No. 1 goal was to give people choice,” she said.

Among the new laws during his tenure were the All-Channel Receiver Act of 1962, that required that TV sets pick up UHF as well as VHF broadcasts, which opened up TV channels numbered above 13 for widespread viewing. Congress also passed a bill that provided funds for educational television, and measures to foster communications satellites.

In a September 2006 interview on National Public Radio, Minow recalled telling Kennedy that such satellites were “more important than sending a man into space. … Communications satellites will send ideas into space, and ideas live longer than people.” On July 10, 1962, Minow was one of the officials making statements on the first live trans-Atlantic television program, a demonstration of AT&T’s Telstar satellite.

Children’s programming was a particular interest of Minow, a father of three, who told broadcasters the few good children’s shows were “drowned out in the massive doses of cartoons, violence and more violence. … Search your consciences and see if you cannot offer more to your young beneficiaries whose future you guide so many hours each and every day.”

Minow resigned in May 1963 to become executive vice president and general counsel for Encyclopedia Britannica Inc. in Chicago.

Nell Minow said her father also was instrumental in getting presidential debates televised, starting with Kennedy and Richard M. Nixon, after watching Stevenson struggle to use the new medium during his 1956 presidential run.

“Minow was appalled by … the whole charade of having to image-make on television,” said Craig Allen, a mass communications professor at Arizona State University who wrote a 2001 book about Minow.

In 1965, Minow returned to his law practice in Chicago, and later served as board member at PBS, CBS Inc. and the advertising company Foote Cone & Belding Communications Inc. He was director of the Annenberg Washington Program in Communications Policy Studies of Northwestern University.

He also gave Barack Obama a summer job at the law firm, where the future president met his wife, Michelle Robinson. Minow also was one of Obama’s earliest supporters when the then-Illinois senator considered running for president, Nell Minow said.

Television is one of our century’s most important advances “and yet, as a nation, we pay no attention to it,” Minow said in a 1991 Associated Press interview.

He continued to push for reforms such as free airtime for political ads and more quality programming while also praising advances in diversity in U.S. television.

“In 1961, I worried that my children would not benefit much from television. But in 1991 I worry that my grandchildren will actually be harmed by it,” he said. 
…

The commuter trains that take wearied workers out of Moscow every day can be difficult — a long and slow trip in close quarters with strangers, some of them drinking alcohol or sprawled sleeping across the seats.

But a few days a week, riders might get a lift when Oksana comes aboard to soothe them with her violin artistry. Classics, jazz, Russian folk music and children’s songs all flow as she glides her bow across the strings.

It’s not just her repertoire that raises the passengers’ spirits, but her instruments themselves. She makes her own violins from kits and decorates them with intricate, colorful paintings of flowers and winding vines.

The 49-year-old Oksana, who did not want her surname reported out of safety concerns, once worked at a cultural center in the southern city of Rostov-on-Don but moved to Moscow after she lost that job. There was a house loan to pay off along with support for her two children, who live with their father.

At first she worked as a dishwasher. One day she fell into conversation with a street musician after giving him some money and he encouraged her to follow his example, saying it would likely pay more than her scullery job.

She took his advice, except that she chose the trains known as elektrichki as her venue rather that the street. They have been her stage for the past four years.

It’s not lucrative. In a good month she can take in 80,000 rubles ($750), but that’s enough to pay for her room on the Moscow outskirts and to send some money to her kids.

She could make more, but standing for hours on the swaying trains while playing is hard on her legs and she plays only two or three times a week.
…

Tennessee organizers booked more than 50 drag entertainers for next month’s Midsouth Pride festival in Memphis now that the state’s new law placing strict limits on cabaret shows is temporarily on hold.

But they are being cautious, making adjustments to performances should the limits of the first-in-the-nation law essentially banning drag from public property or in the presence of minors kick in before June celebrations.

“As soon as this stuff started making its way, I immediately started coming out with plans to be able to counteract that,” said longtime festival organizer Vanessa Rodley. “Because, at the end of the day, we can’t put on an event that then segregates a huge portion of our community, right? We just can’t do that. So you have to find ways around it.”

The show must go on.

Organizers of Pride festivals and parades in mostly conservative states where there’s been a broader push targeting LGBTQ+ rights have been under increasing pressure to censor their events. They’re taking steps like editing acts and canceling drag shows in order to still hold their annual celebrations of lesbian, gay, bisexual, transgender and queer identity in today’s contentious climate.

In some cases, they are trying navigate broad legislative language that can equate drag performances and story hours with “adult-oriented performances that are harmful to minors,” as in the Tennessee law. In other places, Pride organizers have had to fight for local permits that were pro forma in past years, facing off with critics at local city council meetings who oppose drag.

Most Pride organizations are busy “doing their homework” and investigating how legislation popping up around the country may impact their events, said Ron deHarte, co-president for the U.S. Association of Prides. And in more progressive states like California, this year’s Pride events will be an opportunity to make a larger statement and raise awareness about the LGBTQ+ community, he said.

“Our members attract more than 20 million people in the United States to their events every year,” deHarte said. “So when you talk about the collective impact that Pride organizers can have, not only in their community but across the country, it is powerful.”

Bills to limit or ban drag were filed in more than a dozen states. The only other state set to enact a law is Florida, where Republican Gov. Ron DeSantis is expected to sign a bill.

Kayla Bates, a founder of ELGbtq+, an organizer of the community Pride festival and parade in Elgin, Illinois, said she expects a large turnout for the inaugural event given the legislation targeting transgender rights and drag shows elsewhere.

“I think people want to really make it known that they back us and that we should feel safe and protected in our community,” she said.

Often held in June, Pride events began as way to commemorate the uprising by New York’s LGBTQ+ communities in 1969, known as the Stonewall rebellion, and as a way to celebrate the LGBTQ+ rights movement.

In New York City, a Pride rally planned for June 17 and a parade on June 25 will have a national theme: “Strength in Solidarity.” Sue Doster, co-chairperson of NYC Pride, said they’re putting a spotlight on the transgender community and drag queens, targets of the recent legislation in conservative states.

“They’re attacking these people because they’re less likely to stand up and fight back, which is why it’s important that we all come together in solidarity and speak up when we see these injustices,” she said.

Backlash against transgender individuals, drag performances and Pride events is not new. Last year, 31 members of a white supremacist group were arrested near an Idaho Pride event after they were found packed into the back of a U-Haul truck with riot gear.

This year, the Pride Alliance of the Treasure Coast in Port St. Lucie, Florida has reacted to possible legislation, canceling a planned gay pride parade and restricting other events to people 21 years and older.

The Pride festival in Hutchinson, Kansas, has also adjusted its program and secured a new venue after losing its original one when a local business owner posted a video on social media decrying the event, which included a drag queen story hour, as depraved.

“Our event is completely family friendly,” said Hutchinson Salt City Pride chair Julia Johnson.

Meanwhile, organizers in the Nashville, Tennessee, suburb of Franklin, opted not to include drag performances in their Pride celebrations so they can work with local officials to get other events permitted.

In Naples, Florida, Pride organizers agreed they wouldn’t allow drag performers to be tipped on stage, and later announced that the drag show portion of its festival will be held at an indoor venue because of safety concerns.

In Memphis, drag entertainers plan to not change costumes mid-performance or accept tips from the audience if the limits are reinstated.

Even in progressive-leaning Massachusetts, there’s been debate about whether a drag show could be part of a Pride celebration in the small town of North Brookfield, about 50 miles (80 kilometers) west of Boston. The three-member select board had rescinded a previous vote and determined a drag show violated restrictions on “adult entertainment.” Last week, the town’s lawyer said the event could take place on the town common as planned after the ACLU got involved.

Support for the community is also making a difference. In Iowa, the Cedar Falls Mayor Rob Green, this week reversed his controversial decision not to sign a proclamation declaring June as Pride Month. He wrote on Facebook that he signed the proclamation out of concern for the safety and health of LGBTQIA+ residents after hearing stories and receiving letters from constituents.

“I learn a lot from these kind of letters and very much appreciate the opportunity to re-examine my assumptions and thought processes,” he wrote.
…

The ceremony for King Charles’ coronation at Westminster Abbey in London on Saturday will involve historic regalia ranging from sceptres and maces to a ring and a spoon.

Here are details of some of the Crown Jewels that will be used during the ceremony:

St. Edward’s Crown

Charles will be crowned with the historic St. Edward’s Crown that has been used since the coronation of King Charles II in 1661 after the monarchy was restored following the 10-year republic of Oliver Cromwell. It was removed from the Tower Of London in December for modifications.

The crown, which weighs about 2.2 kilograms, is made up of a solid gold frame set with rubies, amethysts, sapphires, garnet, topazes and tourmalines and has a velvet cap with an ermine band.

It replaced an original crown believed to date back to the 11th century Anglo-Saxon king of England, Edward the Confessor.

Charles will also wear the 1-kilogram Imperial State Crown at the end of the service, the headwear regularly used by British monarchs for official occasions such as the State Opening of Parliament.

Made for the coronation of Charles’ grandfather George VI in 1937, it is set with 2,868 diamonds in silver mounts including the 105-carat Cullinan II, the second biggest stone cut from the Cullinan Diamond, which was given by the government of the Transvaal in South Africa to Edward VII on his birthday in 1907.

The crown also features the large “Black Prince’s Ruby”, along with 17 sapphires, 11 emeralds and 269 pearls, including some of which are said to have been bought as earrings by Tudor monarch Queen Elizabeth I.

Sovereign’s scepter with cross

The Cullinan 1 diamond, also known as the Star of Africa, which weighs in at 530 carats and is the world’s largest colorless cut diamond, was set in the bejeweled golden scepter which has been used in every coronation since 1661.

The scepter, which has undergone a number of alterations over the centuries, represents the sovereign’s temporal power and is associated with good governance.

Sovereign’s scepter with dove

This is the second scepter used in the ceremony, representing the sovereign’s spiritual role. It also dates from 1661. It is made from a gold rod in three sections, mounted with diamonds, rubies, emeralds, sapphires and spinels. At the top is an enameled dove with outspread wings, which represents the Holy Ghost.

The Sovereign’s Orb

The Sovereign’s Orb, another item commissioned for Charles II’s coronation, is a globe of gold with a cross mounted on top, surrounded by a band of diamonds, emeralds, rubies, sapphires and pearls with a large amethyst at the summit. It is a representation of Christian sovereignty.

Coronation ring

The coronation ring, known as “The Wedding Ring of England” and composed of a sapphire with a ruby cross set in diamonds, was made for the coronation of King William IV in 1831. Worn at every coronation since then, it symbolizes kingly dignity.

Swords and maces

A number of swords will feature in the coronation procession.

These include the Sword of State, which symbolizes royal authority and was made in about 1678, and was used at Charles’ investiture as Prince of Wales in 1969. Also to feature will be the Sword of Temporal Justice, the Sword of Spiritual Justice and the Sword of Mercy, which were first used in the coronation of Charles I in 1626.

The bejeweled Sword of Offering, made for the coronation of George IV in 1821, will be presented to Charles, with the message it is a symbol not of might or violence but for the protection of good.

Two maces, made of silver gilt over oak and date from between 1660 and 1695, will also feature. These are the ceremonial emblems of authority which are carried before the sovereign at events such as the State Opening of Parliament.

Ampulla

The golden ampulla, which dates from 1661, is a flask in the shape of an eagle that holds the holy oil, which was consecrated in Jerusalem in March and will be used to anoint the king.

Coronation spoon

The silver-gilt spoon is the oldest piece in the regalia, probably made for Henry II or Richard I in the 12th century. It was used to anoint King James 1 in 1603 and has featured at every coronation since.

Bracelets

Two armills, golden bracelets representing sincerity and wisdom, are placed on the sovereign’s wrists. They are thought to relate to ancient symbols of knighthood and military leadership.

They date back to 1661 and have been used at every coronation from King Charles II’s until King George VI’s in 1937, with new armills specially prepared for Queen Elizabeth in 1953.
…

King Charles III’s coronation is a chance to unite people with the history and pageantry of the monarchy, but those traditions are also full of potential controversies as he tries to show that the monarchy still has a role to play in modern Britain.

The new king has already recognized these challenges by adjusting the coronation festivities to the realities of today.

This coronation will be shorter and more inclusive than his mother’s in 1953. Faith leaders from outside the Church of England will take an active role in the ceremony for the first time. And people from all four nations of the United Kingdom, as well as the Commonwealth, will take part.

Here are five artifacts that will play a central role in Saturday’s events.

The Coronation Chair and Stone of Scone

King Charles III will sit atop more than 1,500 years of Irish, Scottish and English history when he is crowned Saturday at Westminster Abbey.

The crown will be placed on Charles’ head as he sits in the Coronation Chair suspended over the Stone of Scone (pronounced “scoon”) — the sacred slab of sandstone on which Scottish kings were crowned. The chair has been part of every coronation since 1308.

The 2.05-meter-tall chair is made of oak and was originally covered in gold leaf and colored glass. The gold has long since worn away and the chair is now pocked with graffiti, including one message that reads “P. Abbott slept in this chair 5-6 July 1800.”

Edward I had the chair built specifically to enclose the Stone of Scone, known by Scots as the Stone of Destiny, after he forcibly took the artifact from Scotland and moved it to the abbey in the late 13th century. The stone’s history goes back much further, however. Fergus Mor MacEirc, the founder of Scotland’s royal line, reputedly brought the stone with him when he moved his seat from Ireland to Scotland around 498, Westminster Abbey said. Before that time, it was used as the coronation stone for Irish kings.

In 1996, Prime Minister John Major returned the stone to Scotland, with the understanding that it would come back to England for use in future coronations. In recent days, the stone was temporarily removed from its current home at Edinburgh Castle in a ceremony overseen by Scottish First Minister Humza Yousaf, then transported to the abbey, where a special service was held to mark its return.

Coronation spoon

The gold-plated silver coronation spoon is the only piece of the coronation regalia that survived the English Civil War. After King Charles I was executed in 1649, the rest of the collection was either melted down or sold off as Parliament sought to abolish the monarchy forever.

The spoon is central to the most sacred part of the coronation ceremony, when the Archbishop of Canterbury will pour holy oil from an eagle-shaped ampulla, or flask, into the spoon and then rub it on the king’s hands, breast and head.

The ceremony has roots in the biblical story of the anointing of King Solomon and was originally designed to confirm that the sovereign was appointed directly by God. While the monarch is no longer considered divine, the ceremony confirms his status as supreme governor of the Church of England.

The 26.7-centimeter spoon is believed to have been made during the 12th century for either King Henry II or King Richard I and may have originally been used for mixing water and wine, according to the Royal Collection Trust.

The Cullinan Diamond

Two stones cut from the Cullinan Diamond — the largest rough diamond ever found — will feature prominently in the coronation, fueling controversy the royal family would rather avoid.

For many in South Africa, where the original stone was found in 1905, the gems are a symbol of colonial oppression under British rule and they should be returned.

Cullinan I, a huge drop-shaped stone weighing 530.2 carats, is mounted in the Sovereign’s Scepter with Cross. On Saturday, the scepter will be handed to Charles as a symbol of his temporal power.

Cullinan II, a cushion-shaped gem of 317.4 carats, is mounted on the front of the Imperial State Crown that Charles will wear as he leaves Westminster Abbey.

Charles sidestepped a similar controversy when Buckingham Palace announced that his wife, Camilla, wouldn’t wear the crown of Queen Elizabeth, the queen mother, on coronation day.

That crown contains the famous Koh-i-noor diamond that India, Pakistan and Iran all claim. The gem became part of the Crown Jewels after 11-year-old Maharaja Duleep Singh was forced to surrender it after the conquest of the Punjab in 1849.

St. Edward’s Crown

The crowning moment of the coronation ceremony will occur, literally, when the Archbishop of Canterbury places St. Edward’s Crown on Charles’ head.

Because of its significance as the centerpiece of the coronation, this will be the only time during his reign that the monarch will wear the solid gold crown, which features a purple velvet cap, ermine band and criss-crossed arches topped by a cross.

After the ceremony, Charles will swap the 2.08-kilogram crown for the Imperial State Crown, which weighs about half as much, for the procession back to Buckingham Palace.

Queen Elizabeth II once said that even the lighter crown was tricky because it would fall off if she didn’t keep her head upright while reading the annual speech at the state opening of Parliament.

“There are some disadvantages to crowns, but otherwise they’re quite important things,” the late queen told Sky News in 2018, flashing a smile.

The current St. Edward’s Crown was made for the coronation of King Charles II in 1661 and has been used in every coronation since then. It is a replica of the original crown, which was created in the 11th century and melted down after the execution of Charles I in 1649.

The crown glitters with stones including tourmalines, white and yellow topazes, rubies, amethysts, sapphires, garnet, peridot, zircons, spinel and aquamarines.

Until the early 20th century, the crown was decorated with rented stones that were returned after the coronation, according to the Royal Collection Trust. It was permanently set with semi-precious stones ahead of the coronation of George V in 1911.

The Gold State Coach

King Charles III and Queen Camilla will travel back to Buckingham Palace from Westminster Abbey in the Gold State Coach, a 261-year-old relic that is renowned as much for its uncomfortable ride as its lavish decoration.

The coach was built in 1762 under the reign of King George III and it has been used in every coronation since 1831.

It is made of wood and plated with gold leaf, from the cherubs on the roof to the Greek sea gods over each wheel. About the only things that aren’t gilded are the side panels painted with Roman gods and goddesses and, of course, the interior, which is upholstered in satin and velvet.

But the coach is heavy — 4 tons — and old, meaning it only ever travels at walking speed.

And while it may look luxurious, the coach features a notoriously bumpy ride because it is slung from leather straps rather than modern metal springs.

The late queen wasn’t a fan.

“Horrible! It’s not meant for traveling in at all,” she said in 2018 in an interview with Sky News. “Not very comfortable.”

That’s one reason Charles and Camilla will ride to the coronation in the Diamond Jubilee State Coach, which is equipped with hydraulic shock absorbers, as well as heat and air conditioning. 
…

The cast of characters for the 149th Kentucky Derby was rewritten in the days before the race. What didn’t change: Forte is the early 3-1 favorite on Saturday in a seemingly wide-open field of 19 horses.

Four horses were scratched — Practical Move, Lord Miles, Continuar and Skinner — and three horses waiting on the also-eligible list moved into the field. They are Cyclone Mischief, Mandarin Hero and King Russell.

Last year’s Derby was a stunner: 80-1 shot Rich Strike weaved his way through traffic and came rushing up the rail to win. NBC Sports’ overhead replay of the race was viewed more than 36 million times.

A crowd of about 150,000 is expected to jam Churchill Downs to wager and watch the 1 1/4-mile Derby. Post time is 6:57 p.m. EDT.

Forte breaks from the No. 15 post, which has produced six winners. The dark brown colt is trained by two-time Derby winner Todd Pletcher, who also has the second favorite in Tapit Trice, at 5-1.

The Todd Squad includes Kingsbarns, and it’s an impressive trio.

Forte was last year’s 2-year-old champion and has six wins in seven career starts, including five in a row. Tapit Trice is 4 for 5 and Kingsbarns is 3 for 3.

“You could say it’s the deepest squad we’ve brought so far,” Pletcher said.

Louisville-born Brad Cox won his first Derby belatedly when Mandaloun was elevated to first place after Medina Spirit’s disqualification nine months after the 2021 race.

“There’s no thrill of winning the Derby through a phone call,” he said. “There’s no celebration, there’s no winning picture.”

Cox has a leading four chances to make the winner’s circle in person this year: early 8-1 third choice Angel of Empire; Hit Show; Verifying; and Jace’s Road.

“I’m sure it would be a feeling like no other,” he said.

Gary and Mary West, who own Hit Show, are seeking retribution of their own.

Their horse, Maximum Security, crossed the Derby finish line first in 2019, but was disqualified for interference after a 22-minute delay while stewards reviewed video. Country House was awarded the garland of red roses. The Wests sued unsuccessfully to have the stewards’ decision reversed.

“They would like to cross the wire first and stay up,” Cox said. “They got a really live crack. This colt is really doing well.”

A couple of jockeys are looking for similar satisfaction.

Luis Saez rode Maximum Security in 2019 and received a 15-day suspension for interfering with others; he’s seeking his first Derby win aboard Tapit Trice. Florent Geroux, who was on Mandaloun, is on Jace’s Road.

For the second straight year, the Derby is without Bob Baffert. The Hall of Fame trainer with a record-tying six victories is soon to complete a two-year ban by Churchill Downs Inc. He was punished after Medina Spirit flunked a post-race drug test.

Baffert’s shadow still looms large over the Twin Spires. A colt previously trained by him, Reincarnate, will be in the starting gate.

Trainer Saffie Joseph Jr. found himself on the sideline after being indefinitely suspended Thursday by Churchill Downs Inc. His Derby entry, Lord Miles, was scratched. Two of Joseph’s horses died after races at the track in the days leading up to the Derby. No cause of death has yet been found.

New antidoping and medication rules to be enforced by the sport’s new central governing body won’t take effect until May 22, after the Derby and the Preakness.

Japan is represented by Derma Sotogake and Mandarin Hero, giving the nation two chances to win the Derby for the first time.

Derma Sotogake and Two Phil’s are the most experienced runners in the field, having made eight career starts.

“He has a lot of experience and it has made him tougher and tougher,” said Christophe Lemaire, who will ride Derma Sotogake. “It is important to have that experience with 18 other horses in a high-level race.”

Confidence Game, a 20-1 shot, will try to win coming off an unheard of 10-week layoff.

Saturday’s forecast calls for partly sunny skies and a high of 25 Celsius.

 
…

To the casual viewer, competing at the Westminster Kennel Club dog show might look pretty simple: Get a dog. Groom it. Pose it. Lead it around a ring.

But there’s a lot more than that to getting to and exhibiting in the United States’ most prestigious canine event, now in its 147th year.

So here are the ins and outs of the show, which starts Saturday at the USTA Billie Jean King National Tennis Center in New York.

How Many Dogs Compete?

Twenty-five hundred dogs from 210 different breeds and varieties signed up to vie for the best in show trophy that gets awarded Tuesday night. (Varieties are subsets of breeds. Think smooth, longhaired and wirehaired dachshunds.)

Hailing from 49 states and 13 countries, contestants range from tiny Chihuahuas to giant Great Danes. They include familiar breeds like Labrador retrievers, rarities such as the sloughi, and a newcomer, the bracco Italiano. Agility and obedience contests Saturday involve a few hundred more dogs, including some mixed-breed ones.

How Do Dogs Get Into The Show?

All the dogs are champions, meaning they’ve racked up a certain amount of prior wins and points. Certain top dogs in the sport’s complicated rankings are invited, but other pooches also can enter.

The process of becoming a potential best in show begins when breeders suss out which puppies in a litter have the physical attributes and disposition to shine in what’s known as “conformation” competition.

Some pups eventually get to Westminster with owners who learned the ropes after unexpectedly getting a show-quality dog. Other canine contestants crisscross the country by road or even air, hitting shows every weekend with big-name professional handlers and a strategy that can entail gathering intel about rivals’ schedules, pondering judges’ past picks and even running ads to celebrate the animal’s accomplishments and boost its profile. They don’t call it “campaigning a dog” for nothing!

What’s a Dog Show Doing at a Tennis Facility?

It’s a new venue for Westminster, which was held for decades all or partly at Madison Square Garden. The pandemic prompted a move to outdoor digs at an estate in suburban Tarrytown, New York, for the past two years. Organizers were keen to return to New York City this year. Amid construction plans at a pier building that used to house the show’s early rounds, organizers linked up with the U.S. Open tennis tournament’s base in Flushing Meadows. “An iconic dog show event in an iconic venue,” Westminster President Donald Sturz enthuses.

How Does it Work?

“Conformation” dogs first face off against others of their breed – sometimes dozens of others, sometimes few or even none. Each breed’s winner moves on to a semifinal round of judging against others in its “group,” such as hounds, herding dogs or terriers. In the final round, the seven group winners compete for best in show.

What Do Judges Look For?

They’re tasked with determining which dog best matches the ideal, or “standard,” for its breed.

The standard is derived from the breed’s original function and may speak to anything from teeth to tail to temperament. For example, a hound developed to hunt in rough terrain might be required to have thick paw pads. A herding dog might need proportions that allow for quick, tight turns.

Judges do hands-on examinations and watch the dogs in motion, taking in each dog’s assets and imperfections. Especially in the finals, distinctions can be very subtle. Show folk often say that victory can go to “the dog on the day” — or as the rest of us might say, the one that just brings it.

What Breeds Have Won The Most?

In records going back to 1907, Wire fox terriers have scampered away with the top prize 15 times, most recently in 2019. Scottish terriers, English springer spaniels, standard poodles and Pekingeses all have five or more wins.

Many breeds have yet to triumph, including such popular ones as the Labrador retriever. But winless breeds should never say never: A bloodhound took best in show for the first time just last year.

Westminster’s agility and obedience competitions were added only within the last decade. So far, almost all the agility championships have gone to border collies, and nearly all the obedience titles to Labs. One Lab, named Heart, won five times in a row.

Has A Mixed-Breed Dog Ever Won?

While Westminster has said there a few mixed-breed entrants in early shows, the best in show prize wasn’t awarded until 1907 and has gone only to purebreds. The pedigreed set also has won all the agility and obedience trials to date, but there’s a special prize every year for the top mix (or “all American dog,” in show parlance).

The focus on purebreds irks groups such as People for the Ethical Treatment of Animals, which regularly protests Westminster as a reprehensible canine beauty pageant. The kennel club says it celebrates all dogs while highlighting “preservation breeding” of those with skills and traits that have been honed over generations. 

What Do Winners Get?

Bragging rights and trophies. There are no cash prizes, though the agility and obedience winners each get to direct a $5,000 Westminster donation to a training club or to the American Kennel Club Humane Fund.

So What’s The Point?

Showcasing dogs, particularly breeds that many people don’t see regularly, participants say. Many also value the friendships that develop at shows that bring dog lovers together across miles and backgrounds.

“We can all talk about dogs,” says dog expert David Frei, who hosted the Westminster telecast for over two decades. “That’s the beauty of the sport, and the beauty of dogs.”

 
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Hong Kong police seized an exhibit Friday in connection with what they said was an attempt to incite subversion, with media reporting it was a statue commemorating Beijing’s Tiananmen Square crackdown on democracy protesters in 1989.

Media reported the exhibit was the “Pillar of Shame,” an 8-meter-tall statue depicting dozens of torn and twisted bodies that commemorates protesters killed in the crackdown in and around Tiananmen Square more than three decades ago.

Police did not give details of the exhibit they said they had seized in the Yuen Long district of the former British colony.

“The National Security Department … conducted searches with a warrant this morning. An exhibit related to an ‘incitement to subversion’ case was seized,” police said in a statement.

They did not say who was suspected of wanting to use the statue, which was being kept in storage, to incite subversion.

Tiananmen anniversary looming

The seizure came weeks ahead of the June 4 anniversary of the Tiananmen Square crackdown.

Hong Kong had traditionally held the largest annual vigils in the world to commemorate the crackdown.

The crackdown is taboo in the rest of China, and Hong Kong’s vigil, traditionally in a city park, was banned beginning in 2020, ostensibly because of coronavirus restrictions.

Statue first exhibited in 1997

The two-ton copper “Pillar of Shame” was first exhibited at a Tiananmen Square commemoration in Hong Kong in 1997, the same year Britain handed the city back to China.

In 2021, the University of Hong Kong dismantled and removed the statue “based on external legal advice and risk assessment for the best interest of the university.” It has since been kept in a cargo container on university-owned land.

Danish sculptor Jens Galschiot, who created the work, said he had not been informed about its seizure by police.

“This is outrageous. This is my sculpture, and nobody has consulted or informed me about anything,” he said in email response to Reuters.

It is not clear if the Tiananmen Square vigil will take place this year.

The city government said this week that sections of Victoria Park, where the rally is usually held, would be closed for maintenance.

The vigil organizer, the Hong Kong Alliance, was disbanded in 2021 after its leaders were arrested and charged with inciting subversion under a national security law imposed by China in 2020 after anti-government protests.

Authorities have been using the law to clamp down on pro-democracy activity in Hong Kong, and about 250 people, including opposition politicians, lawyers and journalists, have been arrested for suspected national security offenses.

Authorities say they are maintaining order necessary for the financial hub’s prosperity.
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U.S. director Damien Chazelle, best known for the Oscar-winning La La Land, will lead the jury of the upcoming Venice Film Festival, organizers announced Friday.

The 80th edition of the prestigious festival will take place from Aug. 30-Sept. 9 on the swanky, beach-lined Lido island.

“For 10 days each year this city of the arts, of Tintoretto and Titian and Veronese, becomes a city of cinema, and I am humbled and delighted to be invited to lead this year’s jury,” said Chazelle, 38, whose most recent film is Babylon.

Chazelle’s musical about making it in Hollywood, La La Land, opened the Venice festival in 2016, and went on to win six Academy Awards, including for its director, the youngest ever to win the prize.

Heading the jury for Venice’s parallel competition, Orizzonti, will be Italy’s Jonas Carpignano, director of a trilogy (Mediterranea, A Ciambra, A Chiara) based in the Calabrian port city of Gioia Tauro.

Last year, the festival’s top Golden Lion prize went to U.S. director Laura Poitras for All the Beauty and the Bloodshed. The documentary traced the campaign by photographer and activist Nan Goldin to hold the rich Sackler family accountable for the U.S. opioid crisis.

U.S. actress Julianne Moore headed last year’s jury, with Spanish director Isabel Coixet at the helm of Orizzonti.
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When Greg Brockman, the president and co-founder of ChatGPT maker OpenAI, was recently extolling the capabilities of artificial intelligence, he turned to “Game of Thrones.”

Imagine, he said, if you could use AI to rewrite the ending of that not-so-popular finale. Maybe even put yourself into the show.

“That is what entertainment will look like,” said Brockman.

Not six months since the release of ChatGPT, generative artificial intelligence is already prompting widespread unease throughout Hollywood. Concern over chatbots writing or rewriting scripts is one of the leading reasons TV and film screenwriters took to picket lines earlier this week.

Though the Writers Guild of America is striking for better pay in an industry where streaming has upended many of the old rules, AI looms as rising anxiety.

“AI is terrifying,” said Danny Strong, the “Dopesick” and “Empire” creator. “Now, I’ve seen some of ChatGPT’s writing and as of now I’m not terrified because Chat is a terrible writer. But who knows? That could change.”

AI chatbots, screenwriters say, could potentially be used to spit out a rough first draft with a few simple prompts (“a heist movie set in Beijing”). Writers would then be hired, at a lower pay rate, to punch it up.

Screenplays could also be slyly generated in the style of known writers. What about a comedy in the voice of Nora Ephron? Or a gangster film that sounds like Mario Puzo? You won’t get anything close to “Casablanca” but the barest bones of a bad Liam Neeson thriller isn’t out of the question.

The WGA’s basic agreement defines a writer as a “person” and only a human’s work can be copyrighted. But even though no one’s about to see a “By AI” writers credit at the beginning a movie, there are myriad ways that regenerative AI could be used to craft outlines, fill in scenes and mockup drafts.

“We’re not totally against AI,” says Michael Winship, president of the WGA East and a news and documentary writer. “There are ways it can be useful. But too many people are using it against us and using it to create mediocrity. They’re also in violation of copyright. They’re also plagiarizing.”

The guild is seeking more safeguards on how AI can be applied to screenwriting. It says the studios are stonewalling on the issue. The Alliance of Motion Picture and Television Producers, which bargains on the behalf of production companies, has offered to annually meet with the guild to go over definitions around the fast-evolving technology.

“It’s something that requires a lot more discussion, which we’ve committed to doing,” the AMPTP said in an outline of its position released Thursday.

Experts say the struggle screenwriters are now facing with regenerative AI is just the beginning. The World Economic Forum this week released a report predicting that nearly a quarter of all jobs will be disrupted by AI over the next five years.

“It’s definitely a bellwether in the workers’ response to the potential impacts of artificial intelligence on their work,” says Sarah Myers West, managing director of the nonprofit AI Now Institute, which has lobbied the government to enact more regulation around AI. “It’s not lost on me that a lot of the most meaningful efforts in tech accountability have been a product of worker-led organizing.”

AI has already filtered into nearly every part of moviemaking. It’s been used to de-age actors, remove swear words from scenes in post-production, supply viewing recommendations on Netflix and posthumously bring back the voices of Anthony Bourdain and Andy Warhol.

The Screen Actors Guild, set to begin its own bargaining with the AMPTP this summer, has said it’s closely following the evolving legal landscape around AI.

“Human creators are the foundation of the creative industries, and we must ensure that they are respected and paid for their work,” the actors union said.

The implications for screenwriting are only just being explored. Actors Alan Alda and Mike Farrell recently reconvened to read through a new scene from “M(asterisk)A(asterisk)S(asterisk)H” written by ChatGPT. The results weren’t terrible, though they weren’t so funny, either.

“Why have a robot write a script and try to interpret human feelings when we already have studio executives who can do that?” deadpanned Alda.

Writers have long been among notoriously exploited talents in Hollywood. The films they write usually don’t get made. If they do, they’re often rewritten many times over. Raymond Chandler once wrote “the very nicest thing Hollywood can possibly think to say to a writer is that he is too good to be only a writer.”

Screenwriters are accustomed to being replaced. Now, they see a new, readily available and inexpensive competitor in AI — albeit one with a slightly less tenuous grasp of the human condition.

“Obviously, AI can’t do what writers and humans can do. But I don’t know that they believe that, necessarily,” says screenwriter Jonterri Gadson (“A Black Lady Sketchshow”). “There needs to be a human writer in charge and we’re not trying to be gig workers, just revising what AI does. We need to tell the stories.”

Dramatizing their plight as man vs. machine surely doesn’t hurt the WGA’s cause in public opinion. The writers are wrestling with the threat of AI just as concern widens over how hurriedly regenerative AI products have been thrust into society.

Geoffrey Hinton, an AI pioneer, recently left Google in order to speak freely about its potential dangers. “It’s hard to see how you can prevent the bad actors from using it for bad things,” Hinton told The New York Times.

“What’s especially scary about it is nobody, including a lot of the people who are involved with creating it, seem to be able to explain exactly what it’s capable of and how quickly it will be capable of more,” says actor-screenwriter Clark Gregg.

The writers find themselves in the awkward position of negotiating on a newborn technology with the potential for radical effect. Meanwhile, AI-crafted songs by “Fake Drake” or “Fake Eminem” continue to circulate online.

“They’re afraid that if the use of AI to do all this becomes normalized, then it becomes very hard to stop the train,” says James Grimmelmann, a professor of digital and information law at Cornell University. “The guild is in the position of trying to imagine lots of different possible futures.”

In the meantime, chanting demonstrators are hoisting signs with messages aimed at a digital foe. Seen on the picket lines: “ChatGPT doesn’t have childhood trauma”; “I heard AI refuses to take notes”; and “Wrote ChatGPT this.”
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