Day: April 23, 2023

‘The Super Mario Bros. Movie’ Is No. 1 for Third Week

“The Super Mario Bros. Movie” continued to rack up coins at the box office, leading ticket sales for the third straight weekend, as the animation hit neared $1 billion after just 18 days in theaters.

The weekend’s top new release, the horror reboot “Evil Dead Rise” debuted solidly, launching with $23.5 million, according to studio estimates Sunday. But that was no match for Universal Pictures’ “The Super Mario Bros. Movie,” which grossed $58.2 million in its third weekend.

“The Super Mario Bros. Movie” is setting a torrid pace for an animated movie. This week, it became the highest-grossing animated released of the pandemic era, with domestic ticket sales up to $434.3 million through Sunday and its global tally at $871.1 million. When “The Super Mario Bros. Movie” soon passes $1 billion worldwide, it will be just the fourth film of the pandemic era to reach that benchmark, following “Spider-Man: No Way Home,” “Top Gun Maverick” and “Avatar: The Way of Water.”

“Evil Dead Rise,” From Warner Bros. and New Line, is the fifth installment (and first in a decade) in the thriller franchise that Sam Raimi began with this 1981 ultra-low-budget classic, “Evil Dead.” Though Raimi’s subsequent and much-adored films starring Bruce Campbell grew increasingly slapstick, marrying comedy and horror, the 2013 reboot and “Evil Dead Rise” (with Raimi as an executive producer) rely on chillier frights.

“Evil Dead Rise,” which had a reported budget of $17 million, also had originally been planned as an HBO Max release. When Warner Bros. decided direct-to-streaming films weren’t financially appealing, it pushed some films – including “Magic Mike’s Last Dance” and “House Party” – to theaters, and simply canned a few others including “Batgirl” and “Scoob! Holiday Haunt.”

Amazon Studios’ “Air,” likewise initially was intended to go straight to streaming, has also continued to perform well theatrically. The Ben Affleck-directed film, about Nike’s courting of Michael Jordan, dipped a modest 29% in its third weekend with $5.5 million to bring its cumulative total to $41.3 million.

But while horror remains one of the most dependable genres at the box office, and families — after a long dry spell of all-audience releases — have flocked to “Super Mario,” some adult-oriented releases have continued to have a harder time attracting audiences.

Guy Ritchie’s “The Covenant,” starring Jake Gyllenhaal as an injured army sergeant in Afghanistan, opened with $6.3 million in 2,611 theaters. But with mostly good reviews (81% fresh on Rotten Tomatoes) and an “A” CinemaScore from ticket buyers, the MGM release may hold well in coming weeks.

Ari Aster’s “Beau Is Afraid,” the most expensive movie ever made by specialty studio A24, expanded until near-wide release, going from four theaters to 926. Aster’s three-hour opus, received with more mixed reviews than his previous two films (“Hereditary,” “Midsommar”), took in $2.7 million.

Searchlight’s “Chevalier,” starring Kelvin Harrison as the 18th century French composer and violinist Joseph Bologne, Chevalier de Saint-Georges, also failed to make a dent. It took in $1.5 million in 1,275 theaters.

But with overall business in movie theaters largely thriving thanks to spring hits like “The Super Mario Bros. Movie” and “John Wick: Chapter 4” ($168.9 million domestically in five weeks of release), the theatrical industry will have much to celebrate when it convenes Monday in Las Vegas for the annual CinemaCon. Studios, beginning with Sony Pictures on Monday, will hype their summer blockbusters as Hollywood looks to return to pre-pandemic box-office levels.

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

  1. “Super Mario Bros,” $58.2 million.

  2. “Evil Dead Rise,” $23.5 million.

  3. “The Covenant,” $6.3 million.

  4. “John Wick: Chapter 4,” $5.8 million.

  5. “Air,” $5.5 million.

  6. “Dungeons & Dragons: Honor Among Thieves,” $5.4 million.

  7. “The Pope’s Exorcist,” $3.3 million.

  8. “Renfield,” $3.1 million.

  9. “Beau Is Afraid,” $2.7 million.

  10. “Suzume,” $1.6 million.

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In US, Dying Patients Protest Looming Telehealth Crackdown

At age 93, struggling with the effects of a stroke, heart failure and recurrent cancer, Teri Sheridan was ready to end her life using New Jersey’s law that allows medically assisted suicide — but she was bedbound, too sick to travel.

So last Nov. 17, surrounded by three of her children, Sheridan drank a lethal dose of drugs prescribed by a doctor she had never met in person, only online. She died within minutes.

Soon, others who seek Sheridan’s final option may find it out of reach, the unintended result of a federal move to roll back online prescribing of potentially addictive drugs allowed during the COVID-19 pandemic.

“How much should one person suffer?” said Sheridan’s daughter, Georgene White, 68. “She wanted to just go to sleep and not wake up.”

Online prescribing rules for controlled drugs were relaxed three years ago under emergency waivers to ensure critical medications remained available during the COVID-19 pandemic. Now, the U.S. Drug Enforcement Administration has proposed a rule that would reinstate most previously longstanding requirements that doctors see patients in person before prescribing narcotic drugs such as Oxycontin, amphetamines such as Adderall, and a host of other potentially dangerous drugs.

The aim is to reduce improper prescribing of these drugs by telehealth companies that boomed during the pandemic. Given the ongoing opioid epidemic, allowing continued broad use of telemedicine prescribing “would pose too great a risk to the public health and safety,” the proposed rule said. It also cracks down on how doctors can prescribe other less-addictive drugs, like Xanax, used to treat anxiety, and buprenorphine, a narcotic used to treat opioid addiction.

The rule would allow some of these drugs to be prescribed with telemedicine for an initial 30-day dose, though patients would need to be seen in person to get a refill. And patients who have been referred to a new doctor by one they had previously met in person could continue to receive prescriptions for the drugs via telemedicine.

DEA Administrator Anne Milgram called the plan “telemedicine with guardrails.”

The agency, with input from the Department of Health and Human Services, is working to finalize the rule by May 11, when the COVID public health emergency officially ends, an HHS spokeswoman said. If approved by then, the new requirements would take effect in November.

The proposal has sparked a massive backlash, including more than 35,000 comments to a federal portal and calls from advocates, members of Congress and medical groups to reconsider certain patients or provisions.

“They completely forgot that there was a population of people who are dying,” said Dr. Lonny Shavelson, a California physician who chairs the American Clinicians Academy on Medical Aid in Dying, a coalition of doctors who help patients access care under so-called right-to-die laws.

Among the biggest complaints: The rule would delay or block access for patients who seek medically assisted suicide and hospice care, critics said. Many of the comments — including nearly 10,000 delivered in person to DEA offices — came from doctors and patients protesting the effect of the rule on seriously ill and dying patients.

“Please do not make the end of life harder for me,” wrote Lynda Bluestein, 75, of Bridgeport, Connecticut. In March, Bluestein, who has terminal fallopian tube cancer, reached a settlement with the state of Vermont that will allow her to be the first non-resident to use its medically assisted suicide law. By the time she’s ready to use the drugs, she expects to be too ill to travel to see a doctor in person for the prescription, she wrote.

The clash between desperate patients who need treatment and DEA’s efforts to bar telehealth companies from overprescribing dangerous medications was inevitable, said David Herzberg, a historian of drugs at the University of Buffalo.

“The balancing act is so tricky,” he said.

Laws in 10 states and Washington allow dying people with a prognosis of six months or less to end their lives with a lethal combination of medications covered by the DEA rule. But such patients are often too sick to visit a doctor in person or they live hundreds of kilometers from the nearest willing and qualified provider, Shavelson said.

There are similar issues for the 1.7 million Medicare recipients enrolled in hospice care in the United States, said Judi Lund Person, who oversees regulatory compliance for the National Hospice and Palliative Care Organization. Rolling back online prescribing flexibilities could mean a dying patient would wait for days for drugs to ease pain and other symptoms.

“They just don’t have time for that,” she said.

Shavelson and his colleagues called for an exception to the rule for the hundreds of patients a year who qualify for medically assisted suicide. Both the American Medical Association and the California Medical Association sent letters asking the DEA to carve out provisions for doctors prescribing the most dangerous category of drugs to patients receiving hospice or palliative care.

“These patients are extremely fragile and their medical conditions do not allow them to easily access a physician’s office,” wrote Dr. Donaldo D. Hernandez, president of the California group. Such people pose a “reduced risk for abuse” given their clear need for the medications.

Congress directed the DEA in 2008 to create exceptions for certain providers to permit remote prescribing, but the agency has not done so, Virginia Democrat Sen. Mark Warner said in a statement last month.

DEA officials did not respond to questions about whether COVID-19 telehealth waivers would remain in effect if the proposed rule isn’t finalized by May 11 or whether the agency will allow exceptions for remote prescribing.

During the pandemic, prescriptions for medically assisted suicide went up, in some cases significantly. In Oregon, for instance, they climbed nearly 49%, to 432 in 2022 from 290 in 2019. The number of deaths under the law in that state rose, too, to 246 from 170. Nationally, at least 1,300 people die each year using the process, according to available state figures.

Telemedicine was key to access during the COVID emergency, said Dr. Robin Plumer, the New Jersey doctor who prescribed the drugs Teri Sheridan took. Plumer has overseen 80 assisted suicide deaths since 2020. Without online prescribing, 35% to 40% of her patients wouldn’t have been able to use the law.

“I feel like we’ve taught people over the past couple of years that telemedicine does work in so many areas and it’s a great improvement for people,” especially for those who are homebound or dying, Plumer said.

“And what?” she said. “They’re suddenly going to yank that away?”

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US Transplant Surgeon Heads to Ukraine to Save Lives

An organ transplant surgeon from New York is planning a third trip to Ukraine, where he has been working with doctors to help patients caught up in Russia’s war on Ukraine. The surgeon, Dr. Robert Montgomery, is also working to raise money to buy medical equipment for a hospital in Lviv. Iryna Solomko has the story, narrated by Anna Rice. VOA footage by Pavlo Terekhov.

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US Invests in Alternative Solar Tech, More Solar for Renters

The Biden administration announced more than $80 million in funding Thursday in a push to produce more solar panels in the U.S., make solar energy available to more people, and pursue superior alternatives to the ubiquitous sparkly panels made with silicon.

The initiative, spearheaded by the U.S. Department of Energy (DOE) and known as Community solar, encompasses a variety of arrangements where renters and people who don’t control their rooftops can still get their electricity from solar power. Two weeks ago, Vice President Kamala Harris announced what the administration said was the largest community solar effort ever in the United States.

Now it is set to spend $52 million on 19 solar projects across a dozen states, including $10 million from the infrastructure law, as well as $30 million on technologies that will help integrate solar electricity into the grid.

The DOE also selected 25 teams to participate in a $10 million competition designed to fast-track the efforts of solar developers working on community solar projects.

The Inflation Reduction Act already offers incentives to build large solar generation projects, such as renewable energy tax credits. But Ali Zaidi, White House national climate adviser, said the new money focuses on meeting the nation’s climate goals in a way that benefits more communities.

“It’s lifting up our workers and our communities. And that’s, I think, what really excites us about this work,” Zaidi said. “It’s a chance not just to tackle the climate crisis, but to bring economic opportunity to every zip code of America.”

The investments will help people save on their electricity bills and make the electricity grid more reliable, secure, and resilient in the face of a changing climate, said Becca Jones-Albertus, director of the energy department’s Solar Energy Technologies Office.

Jones-Albertus said she’s particularly excited about the support for community solar projects, since half of Americans don’t live in a situation where they can buy their own solar and put in on the roof.

Michael Jung, executive director of the ICF Climate Center agreed. “Community solar can help address equity concerns, as most current rooftop solar panels benefit owners of single-family homes,” he said.

In typical community solar projects, households can invest in or subscribe to part of a larger solar array offsite. “What we’re doing here is trying to unlock the community solar market,” Jones-Albertus said.

The U.S. has 5.3 gigawatts of installed community solar capacity currently, according to the latest estimates. The goal is that by 2025, five million households will have access to it — about three times as many as today — saving $1 billion on their electricity bills, according to Jones-Albertus.

The new funding also highlights investment in a next generation of solar technologies, intended to wring more electricity out of the same amount of solar panels. Currently only about 20% of the sun’s energy is converted to electricity in crystalline silicon solar cells, which is what most solar panels are made of. There has long been hope for higher efficiency, and today’s announcement puts some money towards developing two alternatives: perovskite and cadmium telluride (CdTe) solar cells. Zaidi said this will allow the U.S. to be “the innovation engine that tackles the climate crisis.”

Joshua Rhodes, a scientist at the University of Texas at Austin said the investment in perovskites is good news. They can be produced more cheaply than silicon and are far more tolerant of defects, he said. They can also be built into textured and curved surfaces, which opens up more applications for their use than traditional rigid panels. Most silicon is produced in China and Russia, Rhodes pointed out.

Cadmium telluride solar can be made quickly and at a low cost, but further research is needed to improve how efficient the material is at converting sunlight to electrons.

Cadmium is also toxic and people shouldn’t be exposed to it. Jones-Albertus said that in cadmium telluride solar technology, the compound is encapsulated in glass and additional protective layers.

The new funds will also help recycle solar panels and reuse rare earth elements and materials. “One of the most important ways we can make sure CdTe remains in a safe compound form is ensuring that all solar panels made in the U.S. can be reused or recycled at the end of their life cycle,” Jones-Albertus explained.

Recycling solar panels also reduces the need for mining, which damages landscapes and uses a lot of energy, in part to operate the heavy machinery. Eight of the projects in Thursday’s announcement focus on improving solar panel recycling, for a total of about $10 million.

Clean energy is a fit for every state in the country, the administration said. One solar project in Shungnak, Alaska, was able to eliminate the need to keep making electricity by burning diesel fuel, a method sometimes used in remote communities that is not healthy for people and contributes to climate change.

“Alaska is not a place that folks often think of when they think about solar, but this energy can be an economic and affordable resource in all parts of the country,” said Jones-Albertus.

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Dame Edna Creator Barry Humphries Dies in Sydney at 89

Tony Award-winning comedian Barry Humphries, internationally renowned for his garish stage persona Dame Edna Everage, a condescending and imperfectly-veiled snob whose evolving character has delighted audiences over seven decades, has died. He was 89.

His death in a Sydney, Australia, hospital, where he spent several days with complications following hip surgery, was confirmed by his family.

“He was completely himself until the very end, never losing his brilliant mind, his unique wit and generosity of spirit,” a family statement said. “With over 70 years on the stage, he was an entertainer to his core, touring up until the last year of his life and planning more shows that will sadly never be.” 

Humphries had lived in London for decades and returned to native Australia in December for Christmas.

He told The Sydney Morning Herald newspaper last month that his physiotherapy had been “agony” following his fall and hip replacement.

“It was the most ridiculous thing, like all domestic incidents are,” Humphries said of his fall. “I was reaching for a book, my foot got caught on a rug or something, and down I went.”

Humphries has remained an active entertainer, touring Britain last year with his one-man show “The Man Behind the Mask.”

Dame Edna’s roots

The character of Dame Edna began as a dowdy Mrs. Norm Everage, who first took to the stage in Humphries’ hometown of Melbourne in the mid-1950s. She reflected a postwar suburban inertia and cultural blandness that Humphries found stifling.

Edna is one of Humphries’ several enduring characters. The next most famous is Sir Les Patterson, an ever-drunk, disheveled and lecherous Australian cultural attache.

Patterson reflected a perception of Australia as a Western cultural wasteland that drove Humphries along with many leading Australian intellectuals to London.

Humphries, a law school dropout, found major success as an actor, writer and entertainer in Britain in the 1970s, but the United States was an ambition that he found stubbornly elusive.

A high point in the United States was a Tony Award in 2000 for his Broadway show “Dame Edna: The Royal Tour.”

Australian Prime Minister Anthony Albanese paid tribute to the celebrated comedian.

“For 89 years, Barry Humphries entertained us through a galaxy of personas, from Dame Edna to Sandy Stone,” Albanese tweeted, referring to the melancholic and rambling Stone, one of Humphries’ most enduring characters. “But the brightest star in that galaxy was always Barry. A great wit, satirist, writer and an absolute one-of-kind, he was both gifted and a gift.”

British comedian Ricky Gervais tweeted: “Farewell, Barry Humphries, you comedy genius.”

Piers Morgan, British television personality, tweeted: “One of the funniest people I’ve ever met.”

“A wondrously intelligent, entertaining, daring, provocative, mischievous comedy Genius,” Morgan added.

Actor, writer, painter

The multi-talented Humphries was also a respected character actor with many stage and screen credits, an author of novels and an autobiography, and an accomplished landscape painter.

John Barry Humphries was born in Melbourne on Feb. 17, 1934. His parents were comfortable, loving and strait-laced, and must have wondered about their eldest son, whom they called Sunny Sam. His mother used to tell him to stop drawing attention to himself.

Before he had finished at the prestigious Melbourne Grammar School, Humphries was more interested in art and secondhand bookshops than football. At 16, his favorite author was Kafka and later said he “felt a little foreign.”

He spent two years at Melbourne University, where he embraced Dadaism — the subversive, anarchic and absurdist European art movement.

His contributions included “Pus In Boots,” waterproof rubber boots filled with custard, and on the performance art side, getting on a tram with an apparently blind accomplice whom Humphries would kick in the shins while yelling “Get out of my way, you disgusting blind person.”

In 1959, he settled in London and was soon working in Peter Cook’s comedy venue The Establishment. He played Sowerberry in the original London production of “Oliver!” in 1960 and repeated the role on Broadway. He appeared with Spike Milligan and William Rushton in “Treasure Island.”

Humphries, with New Zealand artist Nicholas Garland, created the Barry McKenzie comic strip for the satirical magazine Private Eye in 1964.

When the strips came out as a book, the Australian government banned it because it “relied on indecency for its humor.” Humphries professed delight at the publicity and implored authorities not to lift the ban.

By then Humphries’ drinking was out of control. In Melbourne in late 1970, he was charged with being drunk and disorderly. He finally admitted himself to a hospital specializing in alcoholism for the treatment that would turn him into a lifelong abstainer.

In 1972 came the first Barry McKenzie film — financially supported by the Australian government, despite the earlier ban. It was savaged by the critics, largely because they trembled at what the world’s first film to feature beer induced vomiting would do to Australia’s image overseas.

But it was a popular success and a sequel two years later included then Prime Minister Gough Whitlam knighting Edna, who was McKenzie’s aunt.

Married four times, Humphries is survived by his wife Lizzie Spender, four children and 10 grandchildren.

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