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British prosecutors said on Wednesday they had authorized charges to be brought against former Hollywood movie producer Harvey Weinstein on two counts of indecent assault against a woman 26 years ago.

“Charges have been authorized against Harvey Weinstein, 70, following a review of the evidence gathered by the Metropolitan Police in its investigation,” Rosemary Ainslie, head of the Crown Prosecution Service’s (CPS) Special Crime Division.

The CPS said the alleged assault took place in August 1996 in London. London’s Metropolitan Police said the accusation involved a woman, now aged in her 50s.

Weinstein is currently serving a 23-year prison sentence in the United States after being convicted in 2020 of assaulting former production assistant Mimi Haleyi and raping former aspiring actor Jessica Mann.

That conviction was upheld by a New York appeals court last week.

The verdict was considered a landmark in the #MeToo movement where women came forward to accuse dozens of powerful men of sexual misconduct. Many view the accusations against Weinstein, which surfaced in 2017, as the key spark for that movement.

“The Crown Prosecution Service reminds all concerned that criminal proceedings against the defendant are active and that he has the right to a fair trial,” Ainslie said.
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The stars of the new Saudi-funded golf league tried to fend off concerns on Tuesday about human rights abuses and signing up to accept hundreds of millions of dollars, despite the risk of being banned from long-standing events. 

After announcing he quit the PGA Tour to join the LIV Golf series, Dustin Johnson evaded questioning about the source of the $25 million prize fund for each event flowing from Saudi Arabia’s sovereign wealth fund. The first LIV Golf Invitational is taking place outside London from Thursday. 

Another former major winner — Graeme McDowell — was left at a news conference trying to publicly reconcile causing fractures in golf by signing for the rebel series that appears to be part of Saudi Arabia’s attempt to reshape its image as a backer of lavish sports events rather than one associated with human rights abuses. 

The Northern Irish golfer, who won the U.S. Open and Ryder Cup in 2010, did bring up the 2018 murder of Jamal Khashoggi in the Saudi consulate in Istanbul as a legitimate area of concern of joining a series he accepts is “incredibly polarizing” for the sport. 

“Take the Khashoggi situation,” he said. “We all agree that’s reprehensible. Nobody is going to argue that fact.” 

U.S. intelligence services said they believe the killing of the U.S.-based Saudi journalist came at the orders of the crown prince, Mohammed bin Salman, who heads the Public Investment Fund. The prince denies wrongdoing. 

The fund is providing the hundreds of millions of dollars in sign-on fees and prize money that is enticing players away from the established tours and jeopardizing their participation in the majors and Ryder Cup. 

Human rights groups describe Saudi Arabia’s efforts as “sportswashing” its image. 

McDowell tried to avoid discussing the specifics of the country he is effectively working for. 

“I really feel like golf is a force of good in the world — I just try to be a great role model to kids,” he said. “We are not politicians. I know you guys hate that expression, but we are really not, unfortunately. We are professional golfers. 

“If Saudi Arabia wanted to use the game of golf as a way for them to get to where they want to be and they have the resources to accelerate that experience, I think we are proud to help them on that journey using the game of golf and the abilities that we have to help grow the sport and take them to where they want to be.” 

How, though, McDowell was asked, is that journey helping women who are oppressed in Saudi Arabia, the LGBTQ individuals whose rights to live freely are criminalized, the migrant workers whose rights are violated, the victims of the Saudi-led bombing of Yemen, or the 81 men who were executed by the kingdom in March? 

“I wish I had the ability to be able to have that conversation with you,” McDowell said. “As golfers, if we tried to cure geopolitical situations in every country in the world that we play golf in, we wouldn’t play a lot of golf. It’s a really hard question to answer. 

“We’re just here to focus on the golf and kind of what it does globally for the role models that these guys are.” 

McDowell did most of the talking on Saudi rights issues, with two-time major winner Johnson responding earlier, “I would pretty much say the exact same thing. I’d agree with what Graeme said.” 

The series is being overseen by Greg Norman with 54-hole tournaments and a shotgun start that sees every group start at the same time on different holes. The winner gets $4 million, while last place gets $120,000. 

The golfers are taking more heat than some other athletes who have competed in Saudi Arabia. While sports, including golf, soccer and Formula One, have chosen to take events to Saudi Arabia without the stars having a say, LIV is a case of the players opting out of existing structures to go all-in on the kingdom’s project. Tiger Woods and Rory McIlroy are among the players to reject an approach from LIV. 

“An opportunity like this comes along,” the 42-year-old McDowell said, “where you can play the last three or four years of your career, in a very financially lucrative environment. It would be crazy to walk away from that as a businessman.” 

Ari Fleischer, a former White House press secretary in George W. Bush’s presidency, was the tournament organizer’s host of the two news conferences involving players Tuesday. He posed questions to the golfers before the media had the opportunity. 

Fleischer was asked about a tweet he posted in 2011 that talked about Saudi Arabia and implied that the king was willing to “spend hundreds of billions so he won’t be overthrown.” He said that comment was made “a long, long time ago.” 
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No 15-year-old figure skaters will be allowed to compete at the 2026 Olympics following the controversy surrounding Russian national champion Kamila Valieva at this year’s Beijing Games.

A new age limit for figure skaters at senior international events was passed Tuesday by the International Skating Union in a 110-16 vote that will raise the minimum age to 17 before the next Winter Olympics in Milan-Cortina d’Ampezzo, Italy.

“This is a very important decision,” ISU president Jan Dijkema said. “I would say a very historic decision.”

The limit will be phased in with 15-year-olds continuing to be allowed to compete next season, a minimum age of 16 in the 2023-24 season, rising to 17 the season after, which is the last before the Olympics.

The ISU said the new rule was “for the sake of protecting the physical and mental health, and emotional well-being of the skaters.”

It should disrupt the career of top Russian junior Sofia Akateva, who is 14. Her birthday in July falls days after the July 1 deadline to classify skaters’ ages for the upcoming season, though for the 2026 Olympics she will be 18 and able to compete.

The change was coming even before figure skating at the Beijing Olympics was dominated by the emotional stress put on the 15-year-old Valieva. She was the favorite to take individual gold, after helping the Russians win the team title, before her positive doping test from December was belatedly revealed during the Olympics.

The teenager was allowed to train under intense scrutiny as a Court of Arbitration for Sport hearing was prepared that allowed her to compete pending the full investigation in Russia. That is still ongoing.

However, her main routine was filled with errors and she dropped to fourth place. She was then criticized rink-side by her coach, Eteri Tutberidze.

The ISU drafted an age-limit proposal saying “burnout, disordered eating, and long-term consequences of injury” were a risk to young teenage skaters who are pushed to perform more quadruple jumps.

The decision was criticized in Russia, where skaters are currently banned by the ISU from international competitions because of the country’s military invasion of Ukraine.

“I think it was done to more or less even out the competition, so that our Russian female skaters couldn’t have the opportunity to win world championship, European, Olympic medals,” Dmitri Soloviev, a team event gold medalist for Russia at the 2014 Sochi Olympics, told broadcaster Match TV.

“But in my opinion Eteri Tutberidze will find a way to get our athletes into ideal condition at the age of 17 or 18,” Soloviev said, “so that they can show their best results at international competitions at that age in particular.”
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At a lunch for Tony Award nominees last month, veteran theater producer Ron Simons looked around and smiled. It seemed appropriate that the gathering was held at The Rainbow Room. 

“I can guarantee you I have not seen this many people of color represented across all categories of the Tony Awards,” he recalled. “It was a diverse room. I was so uplifted and impressed by that.” 

For the first full season since the death of George Floyd reignited a conversation about race and representation in America, Broadway responded with one of its most diverse Tony slates yet. 

Multiple Black artists were nominated in every single performance category, including three of five featured actors in a musical, four of six featured actresses in a play, two of seven leading actors in a play and three of five leading actresses in a play. There are 16 Black performance nods out of 33 slots — a very healthy 48%. 

By comparison, at the 2016 Tonys — the breakout season that included the diverse “Hamilton,” “Eclipsed” and “The Color Purple” revival — 14 of the 40 acting nominees for plays and musicals or 35% were actors of color. 

“Let’s hope that the diversity that we saw in the season continues to be the norm for Broadway, that this isn’t just an anomaly or a blip in reaction to what we’ve been through, but just a reset,” said Lynn Nottage, the first writer to be nominated for both a play (“Clyde’s”) and musical (“MJ”) in a single season. 

The new crop of nominees also boasts more women and people of color in design categories, such as first-time nominees Palmer Hefferan for sound design of a play (“The Skin of Our Teeth”), Yi Zhao for lighting design of a play (“The Skin of Our Teeth”) and Sarafina Bush for costume design of a play (“for colored girls who have considered suicide/when the rainbow is enuf”). 

Other firsts this season included L Morgan Lee of “A Strange Loop” becoming the first out trans performer to be nominated for a Tony. Adam Rigg, scenic designer of “The Skin of Our Teeth,” became the first out agender (does not identify with a particular gender) designer nominated, and Toby Marlow, “Six” co-creator is the first out nonbinary composer-lyricist nominated. 

Eleven performers — including Jaquel Spivey from “A Strange Loop,” Myles Frost in “MJ” and Kara Young from “Clyde’s” — received a nod for their Broadway debut performances and 10 designers received nominations for their Broadway debuts, as did creators such as “A Strange Loop” playwright Michael R. Jackson and “Paradise Square” co-book writer Christina Anderson. 

“I’m very, very excited about all the new voices we’re hearing, all the new new writers who are represented on Broadway for the first time,” said A.J. Shively, an actor nominated for “Paradise Square.” “I really hope that trend continues.” 

Perhaps nowhere is the diversity more apparent than in the oldest play currently on Broadway. “Macbeth,” directed by Sam Gold, has a Black Lady Macbeth in Ruth Negga, a woman taking on a traditional male role (Amber Gray plays Banquo), a non-binary actor (Asia Kate Dillon) and disability representation (Michael Patrick Thornton). 

“If all the world’s a stage, our stage certainly is the world. I’m really proud to be up there with all the actors,” says Thornton, who uses his wheelchair as a cunning asset to play the savvy nobleman Lennox. 

But while representation was seen across Broadway this season so was an invisible virus that didn’t care. The various mutations of COVID-19 sickened actors in waves and starved many box offices of critical funds. Skittish theater-goers who returned often had an appetite for only established, comfort shows. 

Several of the Black-led productions came up short, including “Thoughts of a Colored Man,” “Chicken and Biscuits,” and “Pass Over.” They debuted in the fall, just as Broadway was slowly restarting and audiences were most fearful. “Thoughts of a Colored Man” closed early because it didn’t have enough healthy actors, at one point enlisting the playwright himself to get onstage and play a role. 

One of the most painful blows was a revival of Ntozake Shange’s “for colored girls,” which struggled to find an audience. The cast of seven Black women included deaf actor Alexandria Wailes and, until recently, a pregnant Kenita R. Miller. It earned strong notices and a whopping seven Tony nominations. But it will close this week. 

“In past seasons, had there been a play with seven Tony nominations and this bevy of glowing reviews, the show would have gone on for quite a while,” says Simons, the lead producer. “There’s an audience for this show. That’s not the problem. The problem is getting the audience into the theater to see the show.” 

Despite a glut in inventory and not enough consumers, there were clear game-changers, like “A Strange Loop,” a musical about a gay Black playwright, that captured a leading 11 nominations, besting establishment options like a Hugh Jackman-led “The Music Man.” Broadway veterans agree that extraordinary storytelling was available for those hardy souls who bought tickets. 

“I’m really proud to be a part of one of the voices of Broadway this year,” said Anna D. Shapiro, who directed Tracy Letts’ Tony-nominated play “The Minutes,” which exposes delusions at the dark heart of American history. ” I am so impressed by the vitality and the dynamism.” 

Broadway data often suggest improvements one year, then a drop off the next. Take the 2013-14 season, which was rich with roles for African Americans, including “A Raisin in the Sun” starring Denzel Washington, Audra McDonald channeling Billie Holiday in “Lady Day at Emerson’s Bar & Grill” and the dance show “After Midnight.” 

There were also African Americans in nontraditional roles, like James Monroe Iglehart as the Genie in “Aladdin,” Nikki M. James and Kyle Scatliffe in “Les Miserables,” and Norm Lewis becoming the first Black Phantom on Broadway in “The Phantom of the Opera.” 

That season, Black actors represented 21% of all roles. But the next season, the number fell to 9%. 

Camille A. Brown, who this season together with Lileana Blain-Cruz became only the second and third Black women to be nominated for best direction of a play, has weathered the ups and downs. 

“My thing is, let’s see what the next year and the year after that and the year after that look like?” she says. “I think the landscape was definitely a challenge, especially after George Floyd and the events that happened after that. But this is only the first season out after all of that stuff happened. So let’s see if it keeps going and keeps evolving and keeps progressing.” 

Simons is optimistic the gains this year will last and celebrates that, at the very least, a group of diverse actors got their Broadway credits this season. He predicts more Tony winners of color than ever before. 

“Even though the box office hurt all of our feelings, it really is a celebration because never have we seen this kind of diversity happen on Broadway,” he says. “It is a rare year and it is a rare year for both the good and the bad.” 
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