Category: Entertainment

Two very different films are set to come out on July 21. One is about the development of the world’s first nuclear weapons. The other is about Barbie. 

Which one has proved to be contentious on the global stage? Surprisingly, it’s not the Oppenheimer biopic. 

Instead, the much-anticipated “Barbie” has stoked controversy in both Vietnam and the Philippines this week, with the former banning it outright and the latter considering a similar move.  

Over the years, Barbie manufacturer Mattel has come under fire for producing dolls that aren’t diverse and that some have said promote unrealistic body standards.

But now the brand has inadvertently strayed into geopolitical quarrels with the movie’s inclusion of Beijing’s controversial nine-dash line on a map. 

Vietnamese officials this week banned screenings of the film because it shows a map with the disputed Chinese territorial claims in the South China Sea. Manila is considering following suit.

The nine-dash line depicts Beijing’s contested claims to parts of the South China Sea. Vietnam, as well as Brunei, Malaysia, the Philippines and Taiwan all dispute the line.  

An international tribunal at the Hague ruled in 2016 that the nine-dash line was invalid, but Beijing has not recognized the decision.  

Free expression experts say such bans won’t solve the territorial dispute and may help strengthen domestic censorship systems in the process. To others, the entire situation is being blown out of proportion.  

For years, questions have been raised over the extent to which American studios acquiesce to Beijing. And for Hollywood, the Chinese market, standing at 1.4 billion people, is lucrative.  

Vietnam and the Philippines have previously banned movies for including the nine-dash line, including Sony’s 2022 movie Uncharted, DreamWorks’ 2019 movie Abominable. Vietnam also banned the 2018 Australian TV series Pine Gap, and the Philippines censored select episodes.

Hanoi’s “Barbie” ban shows that “censors have started to be more sensitive about information on territorial disputes between Vietnam and China,” said Trinh Huu Long, the founder of the journalism and research group Legal Initiatives for Vietnam.  

“The censors will even be praised for overreacting to the unclear map, by both their superiors and the public, because anti-China sentiment runs deep into the country’s political culture,” added Long, who grew up in Vietnam but now lives in Taiwan.  

Still, some China experts think the Barbie movie’s alleged inclusion of the nine-dash line is not a pressing concern for either country.

“I don’t expect this to be more than a really incidental sort of thing,” said Rui Zhong, a China expert at the Wilson Center. “I don’t think either foreign ministry is losing sleep over the Barbie movie.

“The map has some waves drawn in the ocean and a sun over Africa, so I don’t really know the larger-scale geographical accuracy or implications,” Zhong told VOA. “I seriously doubt this is a film that will extensively wade into East or Southeast Asian politics.” 

China has so far been ignoring international law and building man-made islands in the South China Sea to help buttress its disputed sovereignty claims. 

But outright bans on films that may legitimize those claims still aren’t the best solution, according to Michael Caster, who covers Asia at the free expression group Article 19. 

“Maps are political, and borders often bear historical wounds, but rather than ensuring free and open discussion, the knee jerk response to censor seldom supports historical or transitional justice,” Caster told VOA. 

The film studio Warner Bros., for its part, has defended the Barbie movie’s map, which depicts eight dashes.

“The map in Barbie Land is a whimsical, child-like crayon drawing,” Warner Bros. said Friday. “The doodles depict Barbie’s make-believe journey from Barbie Land to the real world. It was not intended to make any type of statement.” 

For Long, the concern over Vietnam’s “Barbie” ban is that these sorts of prohibitions — related more to sovereignty and less to political dissent — ultimately make it easier for Hanoi to ban materials that actually might be critical of the government.  

“The government is surely using legitimate nationalist reasoning to strengthen its entire censorship system,” Long said.
…

Apartheid ended in South Africa three decades ago, but Black people still struggle to enter luxury sports like hot air ballooning. Komane Harold Tjiane, 44, is in the process of breaking through that ceiling, training to become the country’s first black hot air balloon pilot. Zaheer Cassim reports from Johannesburg.
Camera: Zaheer Cassim
…

UNESCO says in the first year of Russia’s war on Ukraine, the cost of the damage to Ukraine’s tourism and culture sectors reached more than $2.5 billion. From Warsaw, Lesia Bakalets reports on efforts to preserve art treasures and exhibit them abroad. Camera: Daniil Batushchak.
…

Two environmental activists were arrested at Wimbledon on Wednesday after getting on court and disrupting a match by scattering orange confetti and puzzle pieces on the grass.

A woman and a man wearing T-shirts from Just Stop Oil — a protest group that wants the British government to stop new oil, gas and coal projects — made it onto the field of play at Court 18 before being taken away by security. Later, during a different match at the same court, another man representing the same organization also threw orange confetti on the grass before security guards corralled him and dragged him away.

The initial interruption happened as three-time Grand Slam semifinalist Grigor Dimitrov of Bulgaria, who is seeded 21st in the men’s bracket, was about to hit a serve in the second set of a first-round match against Sho Shimabukuro of Japan.

Before the debris could be cleared from the court to allow the players to continue, action was halted by a rain delay.

“Following an incident on Court 18, two individuals have been arrested on suspicion of aggravated trespass and criminal damage and these individuals have now been removed from the grounds,” an All England Club spokesperson said in a statement. “Play on the court was temporarily paused and, following a suspension in play due to a rain delay, play [resumed].”

One of the activists sat down on the court before being removed.

The All England Club coordinated with London police and other agencies to increase security for this year’s tournament, in part as a result of protests at other major sports venues in Britain this year.

“Based on what has happened at other sporting events, and on the advice from our key partners, we have reviewed our security plans, which have now been uplifted for The Championships accordingly,” All England Club operations director Michelle Dite said last week.

“We have plans in place to mitigate the risks working in partnership with specialist agencies and the Metropolitan Police and should an incident occur, the appropriate specialist teams will respond,” Dite said.

Her comments came a day after people representing Just Stop Oil briefly disrupted play about five minutes after the start of a cricket match between England and Australia in London. Players from both teams intervened when the protesters attempted to spread orange powder on the field.

Earlier in June, protesters held up the England cricket team bus briefly during the test against Ireland in London. Activists also have targeted Premier League soccer matches, the Premiership rugby final at Twickenham and the world snooker championship in Sheffield this year.
…

In recent years, there have been more prominent TV shows and movies featuring Asians and Chinese Americans, with many of them targeting younger audiences.  

The increase in media showing Asian Americans is more than just a product of the streaming era. For summer camp director C.C. Hsu and her students, it is also a step toward more accurate representations of their identities.   

The summer camp hosted by the Washington DC Taiwanese School, located in Maryland about 30 kilometers (18.6 miles) north of the U.S. capital, is made up of the children and grandchildren of immigrants from Taiwan.   

“Our community is generational,” Hsu said.   

Hsu, who immigrated to the U.S. as a child, aims to teach the students at the summer camp more about her culture. She said what she sees at the summer camp is reflected on screen in the new Disney+ show, “American Born Chinese.”   

The show is about a child of Asian immigrants who is introduced to a new student from China and their adventures as a result of their budding friendship.   

“When he [main character Jin Wang] says multiple times, ’Can you say that slower? My Chinese isn’t very good,’ this is something that is very, very familiar with the kids that are at the Taiwanese School,” Hsu said.   

Emmanuelle Roberts, Hsu’s daughter and a camp student, said she would like to see more Taiwanese American representation.   

“I don’t feel like Taiwanese and Taiwanese American people are portrayed enough in the media,” she said.

Her comments reflect a desire among many Taiwanese Americans for recognition of an identity distinct from Chinese Americans.   

“I usually just think of myself as either Asian American or Taiwanese American,” Freddy Meng, another camp student, said. “I don’t really identify with Chinese American that much.”   

More Asian faces on screen   

Among the many reasons why Hollywood is producing more Asian American stories, experts said, is because changes to the structure of the industry have opened more doors for Asian talent in front of and behind the camera.   

“In the last few years, the last decade or so, as Hollywood — as much of corporate America — has shifted into thinking about diversity as one of its core values, thinking about, ’How do we create a pipeline?'” said Brian Hu, who teaches television, film and new media at San Diego State University and is artistic director of the San Diego Asian Film Festival.   

“This is among the first times where the showrunner is Asian American or Chinese American, where the production team behind it and the whole cast and crew … is Asian American or … Chinese American, and part of that is because we’re seeing a new generation of talent… who are… kind of reaching that level in the industry where they have that sway,” said Jason Coe, assistant professor at the Hong Kong Baptist University Academy of Film.    

Hollywood has also grown more aware of the importance of Asian American representation as a component of its broader push toward diversity.   

“Asian Americans are part of the diversity equation … 20 years ago that wasn’t necessarily the case. It wasn’t necessarily self-evident that if you are doing diversity, that Asian faces is a part of that,” Hu said.  

The increase of anti-Asian hate incidents during the pandemic is another reason behind more shows about Asian Americans, said Yao Zhang, a Chinese Canadian YouTuber and human rights activist.   

“Some people, especially Chinese people, want to show the world that we are not all spies, right? We are not all agents, right?” Zhang said. “Like, we are a loyal American citizen or whatever or just to see a different part of us.”

Hollywood and China  

For years, Hollywood has been looking outside of the U.S. to China to reach one of the largest movie markets in the world. But films would first have to get past Beijing’s government censors.   

“This obsession of Hollywood entering China that obsession was especially high like 10 years ago where you do see a lot of coproductions happening,” Hu said.  

The Tom Cruise sequel “Top Gun: Maverick” was accused of making changes to appeal to China. In the original 1986 “Top Gun” movie, the Taiwanese and Japanese flags were on Cruise’s bomber jacket. In the trailer of the 2022 sequel, those flags do not appear. The film was accused of self-censoring to please Bejing because China considers Taiwan a part of its territory.   

“When the original teaser or trailer came out that it was digitally erased or a more politically neutral flag was inserted there so as not to offend the mainland audience, but as soon as they realized they would not be that audience, the Taiwan flag came back,” Hu said.  

Chinese company Tencent Holdings was supposed to be an investor, but the company decided to pull out of the film due to fears that the strong pro-U.S. military themes would anger Beijing, The Wall Street Journal reported. The film never received permission from Beijing to be shown in China.    

Last week, Politico reported the U.S. Defense Department updated its rules to filmmakers, saying if Hollywood wants help from the U.S. military, it cannot let China censor its films.   

Focus on Asian Americans   

Film analysts say production companies may do better by focusing on audiences closer to home.   

“If they see themselves as first for making a culturally American film that, of course, will have global appeal, but they know what they know, most which is that like American culture and American way of making movies that to have to, to cater culturally to somebody else is a big list, and I think they realized that let’s not be so obsessed with the Chinese market that we forget who we are,” said Hu, of San Diego State University.   

Some recent productions about Chinese American stories have received positive reviews.   

“I think that both ‘Everything Everywhere All at Once’ and ‘American Born Chinese’ are made with the Asian American and Chinese American audiences in mind, and I believe that the immigrant story is a very American story,” Coe said. 

“I think what we’re proving is that there is money to be made here. People want these stories,” said Hsu, the summer camp director.   

Increased Asian American representation means roles less rooted in stereotypes, activist Zhang said. 

“On the TV shows or on the movies, we are just [a] certain type of people, like nerd, IT [information technology] specialist — all guys are IT specialists, all women are accountants, all nerds,” Zhang said.   

The Hollywood Diversity Report 2023, conducted with the help of the University of California Los Angles College of Social Sciences, found in theatrical films that Asians make up 2.3% of lead actors, 6.5% of overall acting roles, 5.6% of directors and 4.5% of writers in 2022.

According to the 2020 U.S. Census, Asians, Native Hawaiians or Other Pacific Islanders make up 6.2% of the U.S. population. 

It is unknown whether more Asian Americans will find work in Hollywood in 2023. For people such as Hsu and her summer camp attendees, increased representation is important not just for seeing more faces who look like them, but also to ensure that their experiences are meaningfully portrayed onscreen. 
…

Andy Murray said he had an emotional meeting with Nazanin Zaghari-Ratcliffe, who spent six years in an Iranian jail cell, after inviting her to watch him from the royal box at Wimbledon on Tuesday.

British-Iranian Zaghari-Ratcliffe and Murray became friends after she said in an interview last year that watching the Scot win Wimbledon on television in 2016 helped sustain her during solitary confinement.

She had been accused of spying while in the country visiting her parents and held in Tehran’s notorious Evin prison until her release last year.

“She hadn’t been to Wimbledon before,” Murray said.

“After the story she told me about watching my Wimbledon final while she was in a cell, I felt like I wanted to invite her to come along and watch the tennis in totally different circumstances.

“Hopefully, a much more enjoyable experience. It was very emotional talking to her and hearing her story. It was brilliant that she was able to come along and watch.”

Zaghari-Ratcliffe said in the interview that prison officials allowed her access to a TV that only had two channels.

One broadcast an Iranian soap opera while the other was a sports channel showing Wimbledon when Murray was winning his second title at the tournament.

“They had no idea what they had given me,” she said.

On Tuesday, she was able to at last see Murray in the flesh on Centre Court and the two-time champion didn’t disappoint his guest as he eased past fellow Briton Ryan Peniston.

Former world number one Murray, who won his first Wimbledon title in 2013, came through to win 6-3, 6-0, 6-1.
…

Founded by a former refugee, Minnesota-based company Epimonía turns material from life jackets worn by refugees into fashion accessories and other items of clothing. VOA’s Kahli Abdu has the story.
…

In recent years, TV shows and movies featuring Asians, including Chinese Americans, have been on the rise, with many of them aimed at younger audiences. Students at a Taiwanese School summer camp in Washington share their thoughts on this trend. Elizabeth Lee and Graham Kanwit report.
…

WIMBLEDON, ENGLAND — When Victoria Azarenka walked into Court 15 Monday morning for her first Wimbledon match in two years, she was greeted by polite clapping. When the two-time Grand Slam champion from Belarus finished off a three-set victory more than 2½ hours later, Azarenka shook her racket with her right hand and pumped her left fist, then offered a wave to the spectators who were applauding warmly.

Unlike her opponent, Yuan Yue, whose nationality was noted on the scoreboard alongside her name, Azarenka had no country listed there. That’s because players from Russia and Belarus are back competing at Wimbledon a year after they were barred by the All England Club because of the invasion of Ukraine — and, in a sort of half-measure adopted by some other sports, are deemed “neutral” athletes who officially do not represent any nation.

The war that began in February 2022 when Russia invaded Ukraine with help from Belarus continues, but Wimbledon’s organizers announced in March they would lift their ban — about which Azarenka said in an interview that, in the big picture, “I’m not sure that it made any difference.”

While other players have flags to the left of their names on the oversized, manually operated brackets on the outside wall of Center Court, the Russians and Belarusians do not. Nor are the countries noted on official schedules or results issued by the All England Club, nor as part of graphics on TV broadcasts of matches. The Club did not allow Wimbledon to be aired on television in Russia or Belarus.

Azarenka and all other entrants from those two countries needed to — and did — sign a declaration agreeing to three stipulations: They wouldn’t be representing Russia or Belarus; they wouldn’t accept funding from those governments or companies operated by them; they wouldn’t express support for the invasion of Ukraine or the leaders of Russia or Belarus.

“It was a difficult decision, as we said when we made it earlier in the year,” All England Club CEO Sally Bolton said Monday about the reversal in policy. “We took a lot of time to think carefully about the decision we made and the impact that would have in the same way as we did last year. We think it’s the right decision for The Championships this year.”

Liudmila Samsonova, a Russian who was seeded 15th in the women’s field, said after being eliminated by Ana Bogdan of Romania 7-6 (1), 7-6 (4) Monday: “Last year was tough to accept. But this year, when they said that we were able to play, it was amazing.”

If there were questions about how Russians and Belarusians might be received upon their return, the earliest indications on Day 1 were that there was nothing out of the ordinary.

No protests. No boos. No shouts in support of Ukraine — or against the returning players. (Russian and Belarusian flags were not allowed to be brought into the tournament grounds.)

“Just like I never left, honestly. It feels good to be playing here,” Azarenka said after beating Yuan 6-4, 5-7, 6-4. “For me, personally, I experienced very good treatment. … Today, to hear people say, ‘Let’s go, Vika!’ and cheering me on was also why I play, to play in front of the crowd, to put on a good show.”

Russians who won Monday included No. 7 seed Andrey Rublev and unseeded Aslan Karatsev among the men, and No. 12 Veronika Kudermetova among the women.
…

HANOI, July 3 (Reuters) – Vietnam has banned Warner Bros’ highly anticipated film “Barbie” from domestic distribution over a scene featuring a map that shows China’s unilaterally claimed territory in the South China Sea, state media reported on Monday.

The U-shaped “nine-dash line” is used on Chinese maps to illustrate its claims over vast areas of the South China Sea, including swathes of what Vietnam considers its continental shelf, where it has awarded oil concessions.

“Barbie” is the latest movie to be banned in Vietnam for depicting China’s controversial nine-dash line, which was repudiated in an international arbitration ruling by a court in The Hague in 2016. China refuses to recognize the ruling.

In 2019, the Vietnamese government pulled DreamWorks’ animated film “Abominable”and last year it banned Sony’s action movie “Unchartered” for the same reason. Netflix also removed an Australian spy drama “Pine Gap” in 2021.

“Barbie,” starring Margot Robbie and Ryan Gosling, was originally slated to open in Vietnam on July 21, the same date as in the United States, according to state-run Tuoi Tre newspaper.

“We do not grant license for the American movie ‘Barbie’ to release in Vietnam because it contains the offending image of the nine-dash line,” the paper reported, citing Vi Kien Thanh, head of the Department of Cinema, a government body in charge of licensing and censoring foreign films.

Warner Bros. did not immediately respond to a request for comment.

Vietnam and China have long had overlapping territorial claims to a potentially energy-rich stretch in the South China Sea. The Southeast Asian country has repeatedly accused Chinese vessels of violating its sovereignty.
…

Indiana Jones, and executives at the Walt Disney Co. and Lucasfilm, made a somewhat dispiriting discovery this weekend. Moviegoers didn’t rush to the theater in significant numbers to see “Indiana Jones and the Dial of Destiny” and say goodbye to Harrison Ford as the iconic archaeologist. 

The film, reportedly budgeted north of $250 million, came in on the lower end of projections with $60 million in ticket sales from 4,600 North American theaters, according to studio estimates Sunday. 

Including $70 million from international showings in 52 markets, “Dial of Destiny” celebrated a $130 million global opening. It easily earned the No. 1 title but was not the high-rolling sendoff for one of modern cinema’s most iconic actor/character pairings that anyone hoped. Disney is projecting that it will make $82 million domestically through the fourth of July holiday and $152 million globally. 

“Dial of Destiny” is the long-delayed fifth installment in the Steven Spielberg/George Lucas-created adventure series that began in 1981, and the first Spielberg himself hasn’t directed. Veteran James Mangold stepped in to take the reins overseeing the Spielberg-approved script, which finds an older Dr. Jones retiring from his university job and swept up on a new adventure with his goddaughter Helena (Phoebe Waller-Bridge). 

“It’s impressive that a franchise that’s over 40 years old is No. 1 at the box office. But there’s no question there were higher hopes for the debut of this movie,” said Paul Dergarabedian, the senior media analyst for Comscore. “This is Indiana Jones. This is a summer movie icon.” 

The film had its splashy premiere at the Cannes Film Festival in May, with a fitting celebration of Ford, who has said this was his last time playing the character. 

But then it was hit with lukewarm reviews. This was an unexpected and unwelcome hurdle, considering it was coming after the maligned fourth film, 2008’s “Indiana Jones and Kingdom of the Crystal Skull.” Another contributing snag was that a significant portion of the target audience, older viewers, don’t tend to buy many tickets on opening weekend for big blockbusters. But even “Crystal Skull,” budgeted at a reported $185 million, managed to gross over $790 million. 

“Sometimes reviews don’t matter, but the sentiment coming out of Cannes was very powerful,” Dergarabedian said. “It set off a narrative where people were already feeling disappointed, and they hadn’t even seen it.” 

Second place went to “Spider-Man: Across the Spider-Verse” with $11.5 million, bringing its domestic total to around $340 million. “Elemental” landed in third place with $11.3 million. 

Aside from “Dial of Destiny,” the weekend’s other main new opener was the animated “Ruby Gillman, Teenage Kraken,” which debuted in sixth place with $5.2 million. 

“Dial of Destiny’s” underwhelming debut comes just a few weeks after both Warner Bros.’ “The Flash” and Disney/Pixar’s “Elemental” had lackluster openings in North America. “Elemental,” like Indy 5, also premiered at Cannes to middling reception. 

And yet, “Elemental” in its three weeks in theaters has held on much better than “The Flash,” which plummeted again to $5 million, bringing its domestic total to $99.3 million. Disney also saw similarly promising holds with “The Little Mermaid,” now at over $280 million domestically and “Guardians of the Galaxy Vol. 3″ which has grossed over $345 million. After the holiday, Disney will be responsible for nearly half of the summer box office earnings. 

“The entire story isn’t told on the opening weekend,” Dergarabedian said. 

Disney has a “clear weekend” ahead with no competing blockbusters, when studio heads can reasonably hope for more families and older audiences to buy tickets. But things will only get more challenging for “Dial of Destiny” in the coming weeks with a crowded July. “Mission: Impossible-Dead Reckoning Part I” opens on July 12, followed by “Oppenheimer” and “Barbie” on July 21. 

“The ups and downs at the box office are giving us whiplash,” Dergarabedian said. “And we’re still on the cusp of some of the biggest movies of the summer.” 

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

1. “Indiana Jones and the Dial of Destiny,” $60 million. 

2. “Spider-Man: Across the Spider-Verse,” $11.5 million. 

3. “Elemental,” $11.3 million. 

4. “No Hard Feelings,” $7.5 million. 

5. “Transformers: Rise of the Beasts,” $7 million. 

6. “Ruby Gillman, Teenage Kraken,” $5.2 million. 

7. “The Little Mermaid,” $5.2 million. 

8. “The Flash,” $5 million. 

9. “Asteroid City,” $3.8 million. 

10. “Guardians of the Galaxy Vol. 3,” $1.8 million.  
    …

SYDNEY — China rallied to claim its first women’s basketball Asia Cup title since 2012 as it beat five-time defending champion Japan 73-71 in an epic final on Sunday.

Trailing at halftime it appeared China may fall for a third consecutive time in a title game as reigning champion Japan scored the last 14 points of the first half to lead by nine points.

Led by player of the tournament center Xu Han, China seized the momentum early in the third quarter and took what proved a match-winning lead late in the game to end its 12-year wait for a gold medal in front of a large crowd in Sydney.

Xu finished with a match-defining 26 points and 10 rebounds to complete the feat of recording a double-double in every game of the tournament. Siyu Wang scored 17 points.

Maki Takada led Japan with 17 points and four rebounds, with Saki Hayashi scoring 12 points for Japan.

China’s title follows its silver medal at the women’s basketball World Cup, also held in Sydney, late last year.

Japan and China met in the 2019 and 2021 title games with the Japanese prevailing in both to claim their fourth and fifth titles.

Earlier Saturday, host nation Australia claimed its third consecutive bronze medal as it cruised past New Zealand 81-59 to repeat its result from Bengaluru, India in 2019 and Amman, Jordan in 2021.

Alice Kunek contributed a team high 19 points and Anneli Maley completed a double-double of 11 points and 11 rebounds, while Tess Madgen scored 14 points with five rebounds and three steals for the Opals.

The eight-team regional tournament doubled as qualifying for next year’s Olympics, with the semifinalists — Japan, Australia, China and New Zealand — qualifying for Paris 2024.
…

FIFA revealed eight different armbands highlighting social causes that sides will be able to wear at the women’s World Cup as world football’s governing body seeks to avoid a row that erupted at last year’s men’s World Cup.

Captains from a number of European countries, including England and Germany, planned to wear a “OneLove” armband in rainbow colors in Qatar in support of LGBTQ rights.

However, they abandoned that stance after being threatened with sporting sanctions just days before the tournament kicked off.

The armband had widely been viewed as a symbolic protest against laws in Qatar, where homosexuality is illegal.

The “unite for inclusion” armband for the women’s World Cup is similar in style to the one outlawed with the words alongside a heart shape in rainbow colors.

Other causes highlighted include gender equality, ending violence against women, hunger and the rights of indigenous people.

Captains will be able to wear a different armband for each match corresponding to the cause being promoted or support one cause for the entire tournament.

“Football unites the world and our global events, such as the FIFA Women’s World Cup, have a unique power to bring people together and provide joy, excitement and passion,” said FIFA President Gianni Infantino.

“After some very open talks with stakeholders, including member associations and players, we have decided to highlight a series of social causes – from inclusion to gender equality, from peace to ending hunger, from education to tackling domestic violence – during all 64 matches at the FIFA Women’s World Cup.”

The women’s World Cup, which will be hosted by Australia and New Zealand, begins on July 20.
…

Alan Arkin, the wry character actor who demonstrated his versatility in everything from farcical comedy to chilling drama as he received four Academy Award nominations and won an Oscar in 2007 for “Little Miss Sunshine,” has died. He was 89.

His sons Adam, Matthew and Anthony confirmed their father’s death through the actor’s publicist on Friday. “Our father was a uniquely talented force of nature, both as an artist and a man,” they said in a statement.

A member of Chicago’s famed Second City comedy troupe, Arkin was an immediate success in movies with the Cold War spoof “The Russians Are Coming, The Russians Are Coming” and peaked late in life with his win as best supporting actor for the surprise 2006 hit “Little Miss Sunshine.” More than 40 years separated his first Oscar nomination, for “The Russians are Coming,” from his nomination for playing a conniving Hollywood producer in the Oscar-winning “Argo.”

In recent years he starred opposite Michael Douglas in the Netflix comedy series “The Kominsky Method,” a role that earned him two Emmy nominations.

“When I was a young actor people wanted to know if I wanted to be a serious actor or a funny one,” Michael McKean tweeted Friday. ‘I’d answer ‘Which kind is Alan Arkin?’ and that shut them up.”

Arkin once joked to The Associated Press that the beauty of being a character actor was not having to take his clothes off for a role. He wasn’t a sex symbol or superstar, but was rarely out of work, appearing in more than 100 TV and feature films. His trademarks were likability, relatability and complete immersion in his roles, no matter how unusual, whether playing a Russian submarine officer in “The Russians are Coming” who struggles to communicate with the equally jittery Americans, or standing out as the foul-mouthed, drug-addicted grandfather in “Little Miss Sunshine.”

“Alan’s never had an identifiable screen personality because he just disappears into his characters,” director Norman Jewison of “The Russians are Coming” once observed. “His accents are impeccable, and he’s even able to change his looks. … He’s always been underestimated, partly because he’s never been in service of his own success.”

While still with Second City, Arkin was chosen by Carl Reiner to play the young protagonist in the 1963 Broadway play “Enter Laughing,” based on Reiner’s semi-autobiographical novel.

He attracted strong reviews and the notice of Jewison, who was preparing to direct a 1966 comedy about a Russian sub that creates a panic when it ventures too close to a small New England town. In Arkin’s next major film, he proved he could also play a villain, however reluctantly. Arkin starred in “Wait Until Dark” as a vicious drug dealer who holds a blind woman (Audrey Hepburn) captive in her own apartment, believing a drug shipment is hidden there.

He recalled in a 1998 interview how difficult it was to terrorize Hepburn’s character.

“Just awful,” he said. “She was an exquisite lady, so being mean to her was hard.”

Arkin’s rise continued in 1968 with “The Heart Is a Lonely Hunter,” in which he played a sensitive man who could not hear or speak. He starred as the bumbling French detective in “Inspector Clouseau” that same year, but the film would become overlooked in favor of Peter Sellers’ Clouseau in the “Pink Panther” movies.

Arkin’s career as a character actor continued to blossom when Mike Nichols, a fellow Second City alumnus, cast him in the starring role as Yossarian, the victim of wartime red tape in 1970’s “Catch-22,” based on Joseph Heller’s million-selling novel. Through the years, Arkin turned up in such favorites as “Edward Scissorhands,” playing Johnny Depp’s neighbor; and in the film version of David Mamet’s “Glengarry Glen Ross” as a dogged real estate salesman. He and Reiner played brothers, one successful (Reiner), one struggling (Arkin), in the 1998 film “The Slums of Beverly Hills.”

“I used to think that my stuff had a lot of variety. But I realized that for the first twenty years or so, most of the characters I played were outsiders, strangers to their environment, foreigners in one way or another,” he told The Associated Press in 2007.

“As I started to get more and more comfortable with myself, that started to shift. I got one of the nicest compliments I’ve ever gotten from someone a few days ago. They said that they thought my characters were very often the heart, the moral center of a film. I didn’t particularly understand it, but I liked it; it made me happy.”

Other recent credits included “Going in Style,” a 2017 remake featuring fellow Oscar winners Michael Caine and Morgan Freeman, and “The Kominsky Method.” He played a Hollywood talent agent and friend of Douglas’ character, a once-promising actor who ran an acting school after his career sputtered.

He also was the voice of Wild Knuckles in the 2022 animated film “Minions: The Rise of Gru.”

Arkin also directed the film version of Jules Feiffer’s 1971 dark comedy “Little Murders” and Neil Simon’s 1972 play about bickering old vaudeville partners, “The Sunshine Boys.” On television, Arkin appeared in the short-lived series “Fay” and “Harry” and played a night court judge in Sidney Lumet’s drama series “100 Centre Street” on A&E. He also wrote several books for children.

Born in New York City’s borough of Brooklyn, he and his family, which included two younger brothers, moved to Los Angeles when he was 11. His parents found jobs as teachers, but were fired during the post-World War II Red Scare because they were Communists.

“We were dirt poor so I couldn’t afford to go to the movies often,” he told the AP in 1998. “But I went whenever I could and focused in on movies, as they were more important than anything in my life.”

He studied acting at Los Angeles City College; California State University, Los Angeles; and Bennington College in Vermont, where he earned a scholarship to the formerly all-girls school.

He married a fellow student, Jeremy Yaffe, and they had two sons, Adam and Matthew.

After he and Yaffe divorced in 1961, Arkin married actress-writer Barbara Dana, and they had a son, Anthony. All three sons became actors: Adam starred in the TV series “Chicago Hope.”

“It was certainly nothing that I pushed them into,” Arkin said in 1998. “It made absolutely no difference to me what they did, as long as it allowed them to grow.”

Arkin began his entertainment career as an organizer and singer with The Tarriers, a group that briefly rode the folk musical revival wave of the late 1950s. Later, he turned to stage acting, off-Broadway and always in dramatic roles.

At Second City, he worked with Nichols, Elaine May, Jerry Stiller, Anne Meara and others in creating intellectual, high-speed impromptu riffs the fads and follies of the day.

“I never knew that I could be funny until I joined Second City,” he said.
…

A screenwriters’ strike in Hollywood has been going on for two months,  grinding scripted TV production basically to a halt and costing California millions in losses each day. Angelina Bagdasaryan has more in this story, narrated by Anna Rice. Camera: Vazgen Varzhabetian        
…

Members of the U.N.’s cultural agency are gathering Thursday for the start of two days of meetings in Paris that are expected to include a vote to accept the return of the United States to the organization.

The United States withdrew in 2018 complaining of anti-Israel bias and mismanagement at the agency.

Before leaving, the U.S. was UNESCO’s largest single donor, providing about one-fifth of the agency’s overall funding.

U.S. officials said earlier this month that the desire to return to UNESCO was motivated by concerns about China’s influence in policymaking at the agency, particularly regarding artificial intelligence and technology education.

As part of the proposed return plan, the Biden administration has requested $150 million in funding for 2024 UNESCO dues and arrears.

Some information for this report came from The Associated Press and Reuters.
…

Actor Julian Sands, who starred in several Oscar-nominated films in the late 1980s and ’90s including “A Room with a View” and “Leaving Las Vegas,” was found dead on a Southern California mountain five months after he disappeared while hiking, authorities said Tuesday.

An investigation confirmed that it was Sands whose remains hikers found Saturday in wilderness near Mount Baldy, the San Bernardino County Sheriff’s Department said. The 65-year-old actor was an avid and experienced hiker who lived in Los Angeles and was reported missing January 13 after setting out on the peak that rises more than 3,048 meters east of the city. Crews aided by drones and helicopters had searched for him several times but were severely hampered by wintry conditions that lasted through spring. No sign of him was found until the civilian hikers came upon him.

The chances of Sands being discovered alive had long since diminished to nearly nothing, but the Sheriff’s Department, which conducted an official search the day before he was found, emphasized that the case remained active.

An autopsy has been conducted, but further test results are needed before the cause of death can be determined, authorities said.

Sands, who was born, raised and began acting in England, worked constantly in film and television, amassing more than 150 credits in a 40-year career. During a 10-year span from 1985 to 1995, he played major roles in a series of acclaimed films.

After studying at the Royal Central School of Speech and Drama in London, Sands embarked on a career in stage and film, playing small parts in films including “Oxford Blues” and “The Killing Fields.” He landed the starring role of George Emerson, who falls in love with Helena Bonham Carter’s Lucy Honeychurch while on holiday in Tuscany in the 1985 British romance, “A Room with a View.”

The film from director James Ivory and producer Ismail Merchant won the British Academy of Film and Television Arts Award for best film, and was nominated for eight Oscars, winning three.

In the wake of its success, Sands moved to the United States to pursue a career in Hollywood.

He played the title role in the 1989 horror fantasy “Warlock” and its sequel. In the 1990 horror comedy “Arachnophobia,” with Jeff Daniels and John Goodman, Sands played an entomologist specializing in spiders.

The following year he appeared in director David Cronenberg’s surreal adaptation of the William Burroughs novel “Naked Lunch” in 1991. In 1993, Sands starred in the thriller “Boxing Helena.”

In 1995’s “Leaving Las Vegas,” Sands played an abusive Latvian pimp alongside Nicolas Cage and Elisabeth Shue. The film was nominated for four Oscars, with Cage winning best actor.

Sands touted his love of the outdoors in a 2020 interview with the Guardian, saying he was happiest when “close to a mountain summit on a glorious cold morning” and that his biggest dream was scaling “a remote peak in the high Himalayas, such as Makalu.”

The actor said in the interview that in the early 1990s, he was caught in an “atrocious” storm in the Andes and was lucky to survive when three others near his party didn’t.

After “Leaving Las Vegas,” the quality of the films Sands was cast in, and the size of his roles, began declining. He worked steadily, appearing in director Wim Wenders’ “The Million Dollar Hotel” and director Dario Argento’s “The Phantom of the Opera.”

Sands was born in Yorkshire, the middle child of five brothers raised by a single mother. He had three children of his own.

He had been married since 1990 to journalist Evgenia Citkowitz, with whom he had two adult daughters, Imogen Morley Sands and Natalya Morley Sands. His eldest child was son Henry Sands, whom he had with his first wife, journalist Sarah Harvey.

A few days before he was found, Sands’ family issued a statement saying, “We continue to hold Julian in our hearts with bright memories of him as a wonderful father, husband, explorer, lover of the natural world and the arts, and as an original and collaborative performer.”
…

A portrait of an unnamed woman by Austrian artist Gustav Klimt sold for 85.3 million pounds ($108.4 million) on Tuesday, setting a record price for any work of art sold at an auction in Europe, London-based auction house Sotheby’s said.  

The painting, which had been given a guide price of 65 million pounds ($82.9 million), was sold after a tense 10-minute bidding war as auctioneer Helena Newman, Sotheby’s head of impressionist and modern art, eked out the final bids in half-million pound increments.

Described by Newman as a “technical tour de force, full of boundary-pushing experimentation, as well as a heartfelt ode to absolute beauty,” the painting titled “Dame mit Fächer” (“Lady with a Fan”) was still on an easel in Klimt’s studio when he died in February 1918.

“It was created when he was still in his artistic prime and brings together all the technical prowess and creative exuberance that define his greatest work,” she said.

The fall of the hammer at 74 million pounds broke the tension, triggering a collective exhalation in the room and a round of applause. The total price includes fees.

The painting sold to a Hong Kong-based art advisory firm, bidding on behalf of a collector based there.

The previous highest price for a painting sold at auction in Europe was Claude Monet’s “Le Bassin Aux Nympheas” in 2008 at $80.4 million, while the record for any work of art sold at auction in Europe was set by Alberto Giacometti’s bronze “Walking Man I,” which went for $104.3 million in 2010.  

Sotheby’s said the painting was one of a small number of Klimt’s portraits in private collections. It is now the most expensive Klimt artwork sold at auction anywhere in the world.

It was last offered for sale nearly 30 years ago, when it was acquired by the family of the present owner for $11.6 million, according to the auction house.
…