Category: Entertainment

New York — After a historically bad first half of the year, the box office is suddenly booming.

“Despicable Me 4,” the Illumination Animation sequel, led the way over the holiday weekend with $75 million in ticket sales Friday through Sunday and $122.6 million since opening Wednesday, according to studio estimates Sunday.

The Independence Day holiday weekend haul for the Universal Pictures’ release further extends the considerable box-office reign of the Minions, arguably the most bankable force in movies today. And it also kept a summer streak going for Hollywood.

Though overall ticket sales were down more than 40% from levels prior to the COVID 19 pandemic, heading into the summer moviegoing season, theaters have lately seen a succession of hits. After Sony’s “Bad Boys: Ride or Die” outperformed expectations, Pixar’s “Inside Out 2” rapidly cleared $1 billion in ticket sales worldwide, making it the first release since “Barbie” to reach that mark. Last weekend, the Paramount prequel “A Quiet Place: Day One” also came in above expectations.

With “Deadpool & Wolverine” tracking for a $160 million launch later this month, Hollywood’s summer is looking up.

“If you look at the mood of the industry about eight weeks ago, very different than today,” says Paul Dergarabedian, senior media analyst for Comscore. “The song says what a difference a day makes. What a difference a month has made.”

It helps to have the Minions at your disposal. Since first debuting in the 2010 original “Despicable Me,” each entry of the franchise — including two sequels and two “Minions” spinoffs — has seemingly guaranteed to gross around $1 billion. The four previous movies all made between $939 million (2022’s “Minions: Rise of Gru”) and $1.26 billion (2015’s “Minions”) globally.

That run has helped give Illumination founder and chief executive Chris Meledandri one of the most enviable track records in Hollywood. “Despicable Me 4,” directed by Chris Renaud and Patrick Delage, returns the voice cast led by Steve Carell and Kristen Wiig and doubles down on more Minion mayhem. Reviews (54% fresh on Rotten Tomatoes) weren’t particularly good for the latest installment, which includes a witness protection plot and a group of Minions transformed into a superhero squadron. But in their 12-year run, little has slowed down the Minions.

“This is one of the most beloved franchises, quite frankly, in the history of film, and certainly animation,” said Jim Orr, distribution chief for Universal. “Chris Meledandri and Illumination have their finger on the pulse of what families and audiences around the world want to see.”

Family movies are powering the box office. “Despicable Me 4” performed strongly despite the still considerable drawing power of “Inside Out 2.” In its fourth weekend of release, the Pixar sequel added another $30 million domestically and $78.3 million overseas.

“Inside Out 2,” with $1.22 billion in ticket sales thus far, is easily the year’s biggest hit and fast climbing up the all-time ranks for animated releases. It currently ranks as the No. 5 animated release worldwide.

Instead of cannibalizing the opening weekend for “Despicable Me 4,” “Inside Out 2” may have helped get families back in the habit of heading to theaters.

“What happened, I think, is the release calendar finally settled into a nice rhythm,” said Dergarabedian, referencing the jumbled movie schedule from last year’s strikes. “It’s all about momentum.”

The continued strong sales for “Inside Out 2” were enough to put the film in second place for the domestic weekend. Last week’s top new film, “A Quiet Place: Day One,” slid to third with $21 million in its second weekend, with another $21.1 million from overseas theaters. That was a steep decrease of 60%, though the Paramount prequel has amassed $178.2 million worldwide in two weeks.

The run of hits has caused some studios to boost their forecasts for the summer movie season. Heading into the most lucrative season at theaters, analysts were predicting a $3 billion summer, down from the more typical $4 billion mark. Now, closer to $3.4 billion appears likely.

The weekend’s other top new release was Ti West’s “MaXXXine,” the third in a string of slasher films from A24 starring Mia Goth. In 2,450 locations, “MaXXXine” collected $6.7 million in ticket sales, a franchise best. The film, which follows “X” and “Pearl” (both released in 2022), stars Goth as a 1980s Hollywood starlet being hunted by a killer known as the Night Stalker.

Angel Studios, which last year released the unexpected summer hit “Sound of Freedom,” struggled to find the same success with its latest Christian film, “Sound of Hope: The Story of Possum Trot.” It debuted with $3.2 million.

Kevin Costner’s big-budget gamble, “Horizon: An American Saga,” didn’t do much to turn around its fortunes in its second weekend. The first chapter in what Costner hopes will be a four-part franchise – including a chapter two Warner Bros. will release in August – earned $5.5 million in its second weekend. The film, which cost more than $100 million to make, has grossed $22.2 million in two weeks.

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

1. “Despicable Me 4,” $75 million.

2. “Inside Out 2,” $30 million.

3. “A Quiet Place Day One,” $21 million.

4. “MaXXXine,” $6.7 million.

5. “Bad Boys: Ride or Die,” $6.5 million.

6. “Horizon: An American Saga, Chapter 1,” $5.5 million.

7. “Sound of Hope: The Story of Possum Trot,” $3.2 million.

8. “Kaiki 2898,” $1.8 million.

9. “The Bikeriders,” $1.3 million.

10. “Kinds of Kindness,” $860,000.
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A young Frenchman who settled in Senegal a little over a year ago decided to master the local Wolof language. Now he’s teaching it to other people on social media. Allison Fernandes has the story, narrated by Michelle Joseph.
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Vatican City — Pope Francis decried the state of democracy and warned against “populists” during a short visit to Trieste in Italy’s northeast on Sunday ahead of a 12-day trip to Asia — the longest of his papacy.

“Democracy is not in good health in the world today,” Francis said during a speech at the city’s convention center to close a national Catholic event.

Without naming any countries, the pope warned against “ideological temptations and populists” on the day that France holds the second round of a snap parliamentary vote that looks set to see the far-right National Rally party take the largest share of the vote.

“Ideologies are seductive. Some people compare them to the Pied Piper of Hamelin: they seduce but lead you to deny yourself,” he said in reference to the German fairytale.

Ahead of last month’s European parliament elections, bishops in several countries also warned about the rise of populism and nationalism, with far-right parties already holding the reins to power in Italy, Hungary and the Netherlands.

Francis also urged people to “move away from polarizations that impoverish” and hit out at “self-referential power.”

After Venice in April and Verona in May, the half-day trip to Trieste, a city of 200,000 inhabitants on the Adriatic Sea that borders Slovenia, marked the third one within Italy this year for the 87-year-old pontiff, who has suffered increasing health problems in recent years.

Since travelling to the French city of Marseille in September 2023, the Argentine Jesuit has limited himself to domestic travel.

But he plans to spend nearly two weeks in Asia in September visiting Indonesia, Singapore and the islands of Papua New Guinea and East Timor.

He arrived in Trieste shortly before 9 a.m. and was due to meet with various groups from the religious and academic spheres, along with migrants and the disabled.

The papal visit is due to conclude with a Mass in the city’s main public square before he departs for the Vatican in the early afternoon. 
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LONDON — A new exhibition looking at the evolution of Barbie opens in London this week as the famed Mattel doll celebrates her 65th birthday this year. 

“Barbie: The Exhibition,” running at the Design Museum from July 5 to February 23, features more than 250 items from the Barbie universe, including an array of dolls showing her changing appearance, design sketches and dream houses. 

On display is a first edition of the first Barbie released in 1959 with blonde hair, angled eyes, dressed in a black-and-white swimsuit, along with later models representing different races, hair textures and shapes. 

Other “firsts” include a Black Barbie and one in a wheelchair. One section dedicated to careers includes a police officer, scientist, doctor, presidents and a voter, while another focuses on Barbie’s long-term companion Ken, who was introduced in 1961. 

“I hope that whatever your reason for coming to this show …, whether you’re a Barbie fanatic or whether you’re a Barbie skeptic, you come away with an appreciation of detailed research and the rigorous design thinking that goes into the making of Barbie,” curator Danielle Thom said in an interview. 

“I do hope that people come away having learned something about … how this brand has come into being and managed to dominate the toy market for such a long period of time.” 

The exhibition coincides with Barbie’s 65th birthday this year and follows the huge success of last year’s “Barbie” movie starring Margot Robbie, which grossed $1.4 billion at the global box office. 

“Barbie’s resonance and culture has never been larger, more prominent,” Kim Culmone, senior vice president of design for Mattel, said. 
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Lausanne, Switzerland — In the battle against drug use at the Paris Olympics, the International Testing Agency plans to deploy a more streamlined, high-tech approach to identify and target potential cheats.

In an interview with Agence France-Presse, Benjamin Cohen, director general of the ITA, said potential tools at its disposal included biological and performance passports as well as a mountain of other data.

Upgraded software, possibly using artificial intelligence, could also help; an investigative unit aided by whistleblowers was making inroads; and increased cooperation with sports bodies and police was bearing fruit.

The ITA, which was founded in 2018, runs the anti-doping program for the Olympics, the Tour de France and “more than 65 international organizations,” said Cohen.

The challenge was to refine the “risk analysis” and identify athletes to monitor using as little time and resources as possible, said Cohen, a Swiss lawyer who has headed the agency since its creation.

The problem is accentuated in the run-up to the Paris Games.

“We still have 30,000 potentially qualifying athletes and we cannot wait to have the final list to focus on the 11,000 participants,” Cohen said.

“Certain doping practices enable athletes to achieve results very quickly,” he said. “Traditionally the pre-Olympic period is high-risk time … the last moment to make a difference. Athletes know that they will be very closely monitored at the Olympics, so I would hope that very few, if any, will be tempted to take drugs in the Olympic Village in Paris.”

At the Games, only medalists are automatically tested, but the ITA wants to find ways to target potential dopers before the finish.

Cohen said the ITA tries to identify patterns. It looks at the demands of each discipline and the substances it might tempt athletes to use. Then the ITA looks at delegations and “the history of doping in that country.” Finally, it scrutinizes each individual athlete and “the development of his or her performances, any suspicious biological passport profiles, suspicious anti-doping tests and so on.”

“That’s hundreds of thousands of pieces of data.”

“Risk analysis”

“Today we have our own software, and the next stage” will involve “programming computers to extract this data, because we still do a lot of this work manually.”

After that, the ITA hopes to “seize all the opportunities offered by artificial intelligence,” provided “we use these new tools ethically.”

“If it’s done properly,” he said, “AI will enable us to go much further in risk analysis and prediction.”

The ITA is developing a “performance passport” as a counterpart to the long-established biological passport.

The objective is to “predict results on the basis of what an athlete has done over the last four years,” said Cohen.

“Artificial intelligence will enable us to say: ‘This is really an unusual result, which could suggest doping,'” he said. “It could help us flag them.”

The performance passport project was initially tested in swimming and weightlifting, two indoor sports in which athletes compete in identical environments each time.

Weightlifting also is one of the sports that have returned a vast number of positive tests at Summer Olympics.

In 2021, the ITA carried out “a major investigation into weightlifting,” and that enabled them to set up a specialized unit in cooperation with the sport.

Focus on cycling

It now has more than 10 such units. “Cycling is a particular focus,” but “other sports are beginning to understand the benefits of gathering intelligence, having anonymous sources and promoting whistleblowers.”

“It’s a new method that complements traditional testing.”

Cohen said the ITA has been working to build links with law enforcement and exploit “synergies.”

“They are bearing fruit,” he said, referring to the case of 23-year-old Italian cyclist Andrea Piccolo, arrested on June 21 by the Italian Carabinieri who caught him returning to the country with growth hormones.

“ITA asked the Italian authorities to open his luggage, which would not have been possible six years ago,” Cohen said.

“We carry out the controls, we monitor the performances of these athletes, we know the networks, the doctors involved and the drugs they are taking. And they can seize and open suitcases and enter hotel rooms.”
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KATHMANDU, Nepal — The highest camp on the world’s tallest mountain is littered with garbage that is going to take years to clean up, according to a Sherpa who led a team that worked to clear trash and dig up dead bodies frozen for years near Mount Everest’s peak.

The Nepal government-funded team of soldiers and Sherpas removed 11 tons of garbage, four dead bodies and a skeleton from Everest during this year’s climbing season.

Ang Babu Sherpa, who led the team of Sherpas, said there could be as much as 40-50 tons of garbage still at South Col, the last camp before climbers make their attempt on the summit.

“The garbage left there was mostly old tents, some food packaging and gas cartridges, oxygen bottles, tent packs, and ropes used for climbing and tying up tents,” he said, adding that the garbage is in layers and frozen at the 8,000-meter altitude where the South Col camp is located.

Since the peak was first conquered in 1953, thousands of climbers have scaled it and many have left behind more than just their footprints.

In recent years, a government requirement that climbers bring back their garbage or lose their deposits, along with increased awareness among climbers about the environment, have significantly reduced the amount of garbage left behind. However, that was not the case in earlier decades.

“Most of the garbage is from older expeditions,” Ang Babu said.

The Sherpas on the team collected garbage and bodies from the higher-attitude areas, while the soldiers worked at lower levels and the base camp area for weeks during the popular spring climbing season, when weather conditions are more favorable.

Ang Babu said the weather was a big challenge for their work in the South Col area, where oxygen levels are about one-third the normal amount, winds can quickly turn to blizzard conditions and temperatures plunge.

“We had to wait for good weather when the sun would melt the ice cover. But waiting a long time in that attitude and conditions is just not possible,” he said. “It’s difficult to stay for long with the oxygen level very low.”

Digging out the garbage is also a big task, since it is frozen inside ice and breaking the blocks is not easy.

It took two days to dig out one body near the South Col which was frozen in a standing position deep in the ice, he said. Part way through, the team had to retreat to lower camps because of the deteriorating weather, and then resume after it improved.

Another body was much higher up at 8,400 meters and it took 18 hours to drag it to Camp 2, where a helicopter picked it up.

The bodies were flown to Tribhuvan University Teaching Hospital in Kathmandu for identification.

Of the 11 tons of garbage removed, three tons of decomposable items were taken to villages near Everest’s base and the remaining eight were carried by porters and yaks and then taken by trucks to Kathmandu. There it was sorted for recycling at a facility operated by Agni Ventures, an agency that manages recyclable waste.

“The oldest waste we received was from 1957, and that was rechargeable batteries for torch lights,” said Sushil Khadga of the agency.

Why do climbers leave garbage behind?

“At that high altitude, life is very difficult and oxygen is very low. So climbers and their helpers are more focused on saving themselves,” Khadga said.
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July 20 marks the 55th anniversary of the Apollo 11 landing on the moon. An interactive exhibit at Manhattan’s Intrepid Museum reminds viewers of the enormity of that undertaking and what went into the first moon landing. Evgeny Maslov has the story, narrated by Anna Rice. Videographer: Vladimir Badikov.
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Phnom Penh — Buddhist monks in the Cambodian capital Phnom Penh chanted blessings and threw flowers on Thursday to welcome 14 trafficked artifacts repatriated from the Metropolitan Museum of Art in New York.

The Angkorian artworks, which included a 10th century goddess sandstone statute and a large Buddha head from the 7th century, were stolen by antiquities trafficker Douglas Latchford before ending up in New York.  

“I am so glad and so happy to see our ancestors back home,” Cambodian Culture Minister Phoeurng Sackona said at the repatriation ceremony.  

“We have many more treasures at the Met which we also hope will be returned to Cambodia,” she added.

Sackona said more than 50 stolen artifacts would return to Cambodia from the United States in the near future.

The minister also called on private collectors and museums around the world to follow the Met and return looted artifacts.

“This return of our national treasures, held by the Met, is of utmost importance not only for Cambodia, but for all of humankind,” she said.  

Latchford, who died aged 88 at his home in Bangkok, was widely regarded as a scholar of Cambodian antiquities, winning praise for his books on Khmer Empire art.

He was charged in 2019 by prosecutors in New York with smuggling looted Cambodian relics and helping to sell them on the international art market.

The Met said in December that it would return 14 antiquities to Cambodia and two to Thailand after they were linked to Latchford.

A 900-year-old statue of the Hindu god Shiva and a bronze sculpture of a female figure were returned to Thailand by the museum in May. 

Thousands of statues and sculptures are believed to have been trafficked from Cambodia from the mid-1960s to the 1990s, while sites in neighboring Thailand were also hit by smugglers.

The return of the items comes as a growing number of museums worldwide discuss steps to repatriate looted artworks, particularly those taken during the colonial era.
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As Ukraine’s war against Russia’s invasion drags on, Ukrainians are fighting to preserve their history. They say Russia is deliberately attacking cultural monuments in a bid to erase the country’s history and identity as a separate nation. For VOA, Anna Chernikova reports from Kyiv. VOA footage by Eugene Shynkar, Vladyslav Smilianets.
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Arles, France — One of the world’s most renowned photo festivals, in the French town of Arles, returned this week with a timely ode to diversity at a moment when France is turning towards the far right.

The Rencontres festival, which runs until Sept. 29, is spread across 27 venues in the ancient cobbled streets of this former Roman town in Provence and has been running since 1970.

This year’s theme is “Beneath the Surface,” seeking to delve into diversity without the usual caricatures around minorities.

The star exhibition is a world-first retrospective for U.S. portrait artist Mary Ellen Mark (1940-2015), who worked for magazines like Life and Rolling Stone.

One of her celebrated images features an Icelandic child resting on the neck of a horse that focuses attention away from the boy’s disability.

Mark “devoted a lot of time and attention to her protagonists, in a few cases returning to photograph them again and again over the course of many years, forging close relationships with many,” said co-curator Sophia Greiff.

An example is Tiny, whom Mark followed from her years on the street falling into drug use, to tender moments with her children.

“What I’m trying to do is make photographs that are universally understood… that cross cultural lines,” Mark once said.

Elsewhere at the festival, Spanish photographer Cristina de Middel presents documentary and dreamlike work about migrants traveling from Mexico to the U.S.

She ignores the usual tropes around migration, presenting the crossing as a heroic epic of courageous men and women heading towards a new life.

By mixing documentary images with staged and poetic photos, “it gives each person back their personality and restores a level of humanity in their representation,” said festival director Christoph Wiesner.

He said the message was particularly vital given the rise of the far right in France, which is currently leading in legislative elections.

“Just because the situation is complex, we cannot just give up,” said Wiesner, highlighting the festival’s regular work on issues around feminism and anti-racism, including presentations in local schools. 

Other exhibitions this year include “I’m So Happy You’re Here,” featuring the work of 20 Japanese female photographers.

Another invites visitors into the “baroque of everyday life” in the Indian state of Punjab with shots of bizarre roof sculptures that locals have brought back after working abroad, including footballs, tanks, planes and lions.

French artist Sophie Calle presents her images alongside responses from blind people about their understanding of visual beauty.

“Green is beautiful, because every time I like something I’m told it’s green,” reads one caption alongside a shot of vivid grass.
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NEW YORK — In the winter of 1789, around the time George Washington was elected the country’s first president, a Boston-based printer quietly launched another American institution.

William Hill Brown’s The Power of Sympathy, published anonymously by Isaiah Thomas & Company, is widely cited as something momentous: the first American novel.

Around 100 pages long, Brown’s narrative tells of two young New Englanders whose love affair abruptly and tragically ends when they learn a shocking secret that makes their relationship unbearable. The dedication page, addressed to the “Young Ladies of United Columbia” (the United States), promised an exposé of “the Fatal consequences of Seduction” and a prescription for the “Economy of Human Life.”

Outside of Boston society, though, few would have known or cared whether The Power of Sympathy marked any kind of literary milestone.

“If you picked 10 random citizens, I doubt it would have mattered to any of them,” says David Lawrimore, an associate professor of English at the University of Idaho who has written often about early U.S. literature. “Most people weren’t thinking about the first American novel.”

What the first American novel was like

Subtitled The Triumph of Nature. Founded in Truth, Brown’s book is in many ways characteristic of the era, whether its epistolary format, its Anglicized prose, its unidentified author, or its pious message. But The Power of Sympathy also includes themes that reflected the aspirations and anxieties of a young country and still resonate now.

Dana McClain, an assistant professor of English at Holy Family University, notes that Brown was an outspoken Federalist, believing in a strong national government, and shared his contemporaries’ preoccupation with forging how a stable republican citizenry. The letters in The Power of Sympathy include reflections on class, temperament and the differences between North and South, notably the “aristocratic temper” of Southern slaveholders that endangered “domestic quietude,” as if anticipating the next century’s Civil War.

Like many other early American writers, fiction and nonfiction, Brown tied the behavior of women to the fate of the larger society. The novel’s correspondents fret about the destabilizing “power of pleasure” and how female envy “inundates the land with a flood of scandal.” Virtue is likened to a “mighty river” that “fertilizes the country through which it passes and increases in magnitude and force until it empty itself into the ocean.”

Brown also examines at length the ways novels might be a path to corruption or a vehicle to uplift, mirroring current debates over the banning and restrictions of books in schools and libraries.

“Most of the novels with which our female libraries are overrun are built upon on a foundation not always placed on strict morality, and in the pursuit of of objects not always probable or praiseworthy,” one of Brown’s characters warns. “Novels, not regulated on the chaste principles of true friendship, rational love, and connubial duty, appear to me totally unfit to form the minds of women, of friends, or of wives.”

Brown was likely more interested in shaping minds than in literary glory.

“The Great American Novel” is a favorite catchphrase but wasn’t coined until the 1860s. During Brown’s lifetime, novels were a relatively crude art form and were valued mostly for satire, light entertainment or moral instruction. Few writers identified themselves as “novelists”: Brown was known as a poet, and essayist and the composer of an opera.

Even he recognized the book’s lower stature, writing in the novel’s preface: “This species of writing hath not been received with universal approbation.”

How it became considered the first

The Power of Sympathy was commonly cited as the first American novel in the 1800s, but few bothered debating it until the 20th century. Scholars then agreed that honors should belong to the first written and published in the United States by an author born and still residing in the country.

Those guidelines disqualified such earlier works as Charlotte Ramsay Lennox’s The Life of Harriot Stuart and Thomas Atwood Digges’ Adventures of Alonso.

Another contender was Father Bombo’s Pilgrimage to Mecca, a prose adventure by college students Hugh Henry Brackenridge and Philip Freneau, both of whom went on to prominent public careers. Written around 1770, the manuscript was later believed lost and wasn’t published in full until 1975.

Brown’s novel was unexamined for so long that only in the late 19th century did the public even discover he had written it. Many had credited the Boston poet Sarah Wentworth Apthorp Morton, whose family had endured a scandal similar to the one in The Power of Sympathy.

In 1894-95, editor Arthur W. Brayley of the Bostonian serialized the novel in his magazine, identifying Morton as the author. But after being contacted by Brown’s niece, Rebecca Vollentine Thompson, Brayley published a lengthy correction, titled “The Real Author of the Power of Sympathy.”

Thompson herself added a preface to a 1900 reissue, noting that Brown was close to Morton’s family and alleging that the publication had been “suppressed” because Brown had bared an “unfortunate scandal.”

A clockmaker’s son, Brown was a Boston native, likely born in 1765. He was well-read, connected, culturally conservative and politically minded; one of his first published writings was an unflattering poem about Daniel Shays, the namesake for the 1786-87 rebellion of impoverished Revolutionary War veterans in Massachusetts. Brown is also the author of several posthumous releases, including the play The Treason of Arnold and the novel Ira and Isabella.

His unofficial standing as “America’s First Novelist” did not lead to broader fame. The novel, currently in print through a 1996 edition from Penguin Classics, remains more of interest to specialists and antiquarians than to general readers.

Brown was not yet 30 when he died in North Carolina, in 1793, from what is believed to be malaria. He apparently never married or had children. No memorials or other historical sites are dedicated to him. No literary societies have been formed in his name.

His burial site is unknown.
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NEW YORK — Robert Towne, the Oscar-winning screenplay writer of “Shampoo,” “The Last Detail” and other acclaimed films whose work on “Chinatown” became a model of the art form and helped define the jaded allure of his native Los Angeles, has died. He was 89.

Towne died Monday surrounded by family at his home in Los Angeles, said publicist Carri McClure. She declined to comment on a cause of death.

In an industry that gave birth to rueful jokes about the writer’s status, Towne for a time held prestige comparable to the actors and directors he worked with.

Through his friendships with two of the biggest stars of the 1960s and ’70s, Warren Beatty and Jack Nicholson, he wrote or co-wrote some of the signature films of an era when artists held an unusual level of creative control.

The rare “auteur” among screen writers, Towne managed to bring a highly personal and influential vision of Los Angeles onto the screen.

“It’s a city that’s so illusory,” Towne told The Associated Press in a 2006 interview. “It’s the westernmost west of America. It’s a sort of place of last resort. It’s a place where, in a word, people go to make their dreams come true. And they’re forever disappointed.”

Recognizable around Hollywood for his high forehead and full beard, Towne won an Academy Award for “Chinatown” and was nominated three other times, for “The Last Detail,” “Shampoo” and “Greystoke.” In 1997, he received a lifetime achievement award from the Writers Guild of America.

“His life, like the characters he created, was incisive, iconoclastic and entirely (original),” said “Shampoo” actor Lee Grant on X.

Towne’s success came after a long stretch of working in television, including “The Man from U.N.C.L.E” and “The Lloyd Bridges Show,” and on low-budget movies for “B” producer Roger Corman. In a classic show business story, he owed his breakthrough in part to his psychiatrist, through whom he met Beatty, a fellow patient. As Beatty worked on “Bonnie and Clyde,” he brought in Towne for revisions of the Robert Benton-David Newman script and had him on the set while the movie was filmed in Texas.

Towne’s contributions were uncredited for “Bonnie and Clyde,” the landmark crime film released in 1967, and for years he was a favorite ghost writer. He helped out on “The Godfather,” “The Parallax View” and “Heaven Can Wait” among others and referred to himself as a “relief pitcher who could come in for an inning, not pitch the whole game.”

But Towne was credited by name for Nicholson’s macho “The Last Detail” and Beatty’s sex comedy “Shampoo” and was immortalized by “Chinatown,” the 1974 thriller set during the Great Depression.

“Chinatown” was directed by Roman Polanski and starred Nicholson as J.J. “Jake” Gittes, a private detective asked to follow the husband of Evelyn Mulwray (played by Faye Dunaway). The husband is chief engineer of the Los Angeles Department of Water and Power, and Gittes finds himself caught in a chaotic spiral of corruption and violence, embodied by Evelyn’s ruthless father, Noah Cross (John Huston).

Influenced by the fiction of Raymond Chandler, Towne resurrected the menace and mood of a classic Los Angeles film noir but cast Gittes’ labyrinthine odyssey across a grander and more insidious portrait of Southern California. Clues accumulate into a timeless detective tale and lead helplessly to tragedy, summed up by one of the most repeated lines in movie history, words of grim fatalism a devastated Gittes receives from his partner Lawrence Walsh (Joe Mantell): “Forget it, Jake, it’s Chinatown.”
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Panama’s pollera is the country’s beautiful, elaborate and very expensive national dress, and one of the most recognized Latin American traditional costumes. But production of the gorgeous garment faces an uncertain future. Oscar Sulbarán explains why in this story narrated by Veronica Villafañe. (Camera: Oscar Sulbarán; Produced by: Veronica Villafañe)
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Washington, D.C., home to the world’s largest collection of William Shakespeare’s works, has unveiled a treasure trove that most have never seen. The Folger Shakespeare Library reopened its doors after a four-year long renovation, revealing the most valuable part of its collection to the public for the first time. Maxim Adams visited the library.
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New York — The monthlong celebration of LGBTQ+ Pride reached its exuberant grand finale on Sunday, bringing rainbow-laden revelers to the streets for marquee parades in New York, Chicago, San Francisco and elsewhere across the globe.

The wide-ranging festivities functioned as both jubilant parties and political protests, as participants recognize the community’s gains while also calling attention to recent anti-LGBTQ+ laws, such as bans on transgender health care, passed by Republican-led states.

“We’re at a time where there’s a ton of legislation, anti-LGBTQ+ legislation,” Zach Overton, 47, said at the New York parade. “It feels like we’re taking a step backwards in the fight for equality and so it’s a great moment to come out and be with our community and see all the different colors of the spectrum of our community and remind ourselves what we’re all fighting for.”

Thousands of people gathered along New York’s Fifth Avenue to celebrate Pride. Floats cruised the street as Diane Ross’ “I’m Coming Out” played from loudspeakers. Pride flags filled the horizon, and signs in support of Puerto Rico, Ukraine and Gaza were visible in the crowd.

This year, tensions over the Israel-Hamas war in Gaza are also seeped into the celebrations, exposing divisions within a community that is often aligned on political issues.

Protesters temporarily blocked the New York parade on Sunday, chanting: “Free, free, free Palestine!” Police eventually took some of them away.

Pro-Palestinian activists disrupted pride parades earlier in June in Boston, Denver, and Philadelphia. Several groups participating in marches Sunday said they would seek to center the victims of the war in Gaza, spurring pushback from supporters of Israel.

“It is certainly a more active presence this year in terms of protest at Pride events,” said Sandra Perez, the executive director of NYC Pride. “But we were born out of a protest.”

The first pride march was held in New York City in 1970 to commemorate the one-year anniversary of the Stonewall Inn uprising, a riot that began with a police raid on a Manhattan gay bar.

Nick Taricco, 47, who was at the New York parade with Overton, said he attended Friday’s opening of the Stonewall National Monument Visitor Center, where President Joe Biden spoke. Taricco said he has concerns about politics in the U.S., including the presidential election.

“Even given how old he is, I still think that’s the direction we need to go in,” Taricco said of Biden. “But it’s a very uncertain time in general in this country.”

Ireland Fernandez-Cosgrove, 23, celebrated at the New York parade.

“New York City is a great place to live, but this is one of the only days where you can come out and be openly queer and you know you’re going to be OK and safe about it,” she said. “I came out here today with my partner to be able to be ourselves in public and know that other people are going to be supporting us.”

In addition to the NYC Pride March, the nation’s largest, the city also played host Sunday to the Queer Liberation March, an activism-centered event launched five years ago amid concerns that the more mainstream parade had become too corporate.

Another one of the world’s largest Pride celebrations also took place Sunday in San Francisco.

Tens of thousands of revelers packed sidewalks along Chicago’s parade, a scaled-back event from previous years. City officials shortened the North Side route and the number of floats this year from 199 to about 150 over safety and logistical concerns, including to better deploy police into evening hours as post-parade parties have become more disruptive in recent years. Chicago’s parade, one of the largest in the U.S., routinely draws about 1 million people, according to the city. Sunday’s crowd estimates were not immediately available.

Additional parades were scheduled in Minneapolis and Seattle.

On top of concerns about protests, federal agencies have warned that foreign terrorist organizations and their supporters could target the parades and adjacent venues. A heavy security presence was expected at all of the events.
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