Paris — The Opening Ceremony of the Paris Paralympics got underway Wednesday in the center of the French capital, firing the starting gun on 11 days of intense competition.

Just as for the Opening Ceremony of the Olympics on the River Seine in July, it took place away from the main stadium for the first time at a Paralympics.

In balmy weather — in contrast to the heavy rain that blighted the opening of the Olympics on July 26 — the Games opened in Place de la Concorde, in the presence of French President Emmanuel Macron.

The ceremony culminates with the lighting of the cauldron, which has already become a highly popular point of interest in the city since its debut at the Olympics.

When the sporting action begins on Thursday, a new generation of Paralympians will join seasoned veterans competing in many of the same venues that hosted Olympic sports.

Eighteen of the 35 Olympic venues will be used for the Paralympics, which run until September 8, including the Grand Palais, which scored rave reviews for its hosting of fencing and taekwondo under an ornate roof.

The La Defense Arena will again host the swimming events, and track and field will take place on the purple track of the Stade de France.

Sluggish ticket sales have picked up since the Olympics, and more than 2 million of the 2.5 million available have been sold, with several venues sold out.

The Paralympic flame was lit at Stoke Mandeville hospital in England, the birthplace of the Games, and brought to France through the Channel Tunnel before touring French cities.

Theater director Thomas Jolly, who also oversaw the Olympics Opening Ceremony, said there was a deep symbolism in having the Paralympics ceremony in the center of Paris — a city whose Metro system is not adapted to the needs of wheelchair users.

“Putting Paralympic athletes in the heart of the city is already a political marker in the sense that the city is not sufficiently adapted to every handicapped person,” Jolly said earlier this week.

Organizers say wheelchair users can take Paris buses, and they have laid on 1,000 specially adapted taxis as well.

Paralympic powerhouse China will send a strong squad — the Chinese dominated the medals table at the Covid-delayed Games in Tokyo three years ago, winning 96 golds. Britain was second with 41 golds.

Riding the wave of its Olympic team’s success, host nation France will be aiming for a substantial upgrade on the 11 golds it won in 2021, which left it in 14th position. French Sports Minister Amelie Oudea-Castera said she wants France to finish in the top eight of the medals table.

Ukraine, traditionally one of the top medal-winning nations at the Paralympics, have sent a team of 140 athletes spread over 17 sports despite the challenges they face in preparing as the war against Russian forces rages at home.

Russia and Belarus are sending a total of 96 athletes, who will compete under a neutral banner but are barred from the opening and closing ceremonies because of the invasion of Ukraine.

Every Games produces new stars, and in this edition, look to American above-the-knee amputee sprinter/high jumper Ezra Frech to make the headlines.

Away from the track, Iranian sitting volleyball legend Morteza Mehrzad, who stands 8 feet, 1 inch tall, will attempt to take gold again.

International Paralympic Committee President Andrew Parsons told AFP earlier this year he hopes the Paris edition will restore the issues facing disabled people to the top of the list of global priorities.

Parsons believes the Games “will have a big impact in how people with disability are perceived around the world.”

“This is one of the key expectations we have around Paris 2024; we believe that we need people with disability to be put back on the global agenda,” the Brazilian said.

“We do believe people with disability have been left behind. There is very little debate about persons with disability.”
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Before Russia invaded in February 2022, American football was becoming popular in Ukraine. Today, most of the players are on the front lines. A gentler version of the game — flag football — is gaining ground in the meantime among kids and youth. Tetiana Kukurika has the story, narrated by Anna Rice. VOA footage by Sergiy Rybchynski
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rome — Stars from Angelina Jolie to George Clooney will gather this week at the Venice Film Festival, bringing a high dose of Hollywood pizzazz back to the watery city’s sandy Lido. 

With 21 films vying for the top Golden Lion prize, the 81st edition of the prestigious festival kicks off Wednesday, with Lady Gaga, Daniel Craig and Brad Pitt expected on the red carpet during the 10-day affair. 

The dazzle is welcome after the Hollywood strikes last year kept most studio films and their A-lister stars away from the world’s longest-running festival, known as “La Mostra.” 

In the spotlight, but out of competition, is “Beetlejuice Beetlejuice,” the long-anticipated sequel to Tim Burton’s 1988 cult classic that opens the festival Wednesday, with Michael Keaton, Catherine O’Hara and Winona Ryder reprising their original roles.  

High-profile contenders in the main competition include Todd Phillips’ “Joker: Folie a Deux,” the sequel to the U.S. director’s 2019 Venice-winning film that sees Joaquin Phoenix paired with Lady Gaga; and “Queer” from Italy’s Luca Guadagnino, starring Craig and based on the William Burroughs novel set in 1940s Mexico City. 

Jolie headlines “Maria,” a Maria Callas biopic from Chile’s Pablo Larrain, who returns to Venice following his Diana drama “Spencer” in 2021, while Nicole Kidman and Antonio Banderas star in the erotic thriller “Babygirl” from Dutch director Halina Reijn. 

To keep the drama on the screen — and avoid it behind the scenes — “Maria” will premiere on the festival’s first full day Thursday, while “Wolfs” starring Jolie’s ex, Brad Pitt, will screen out of competition Sunday. 

Joining Pitt in the Apple TV+ film from “Spider-Man” director Jon Watts is Clooney, with the actors playing rival professional fixers in the action comedy. 

The main competition also includes the first full-length film in English for a Venice regular, Spain’s Pedro Almodovar — “The Room Next Door” with Tilda Swinton and Julianne Moore — while “The Order” from Australian director Justin Kurzel sees Jude Law playing an FBI agent investigating a terror ring in the Pacific Northwest. 

Weaver, Costner and Kline  

Wednesday’s opening night will feature the introduction of the international jury led by its president, French actress Isabelle Huppert, and the awarding of an honorary Golden Lion for lifetime achievement to “Alien” star Sigourney Weaver. 

Also having its out-of-competition debut is the second chapter of Kevin Costner’s “Horizon: An American Saga.” The first part of the actor-director’s Western epic premiered at Cannes in May.  

Running until September 7, the international festival has increasingly become known for showcasing films that go on to Oscar glory for its directors and cast members, including former Golden Lion winners “Poor Things,” “Nomadland” and “Joker.”  

Unlike at the rival Cannes Film Festival, Venice accepts films produced by streaming services in competition, especially Netflix, which has found great success launching titles such as “Maestro” and “Roma” at the Italian festival.  

Besides “Wolfs,” Apple TV+ also produced “Disclaimer,” a thriller series starring Cate Blanchett, Kevin Kline and Sacha Baron Cohen, which is also having its premiere in Venice. 
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Los Angeles — In a sleepy summer weekend at the box office, holdovers reigned supreme as newcomers landed without a splash.

“Deadpool & Wolverine” reclaimed first place at the North American box office in its fifth weekend with $18.3 million. Its cumulative international earnings now sit at over $1.2 billion.

The Walt Disney Co., which owns 20th Century Studios, claimed the top two spots on the charts for the second weekend in a row with “Alien: Romulus” following close behind the foul-mouthed superhero movie. The latest installment in the 45-year-old franchise brought in $16.2 million in its second weekend after a promising opening. Disney’s “Inside Out 2” also remained on the charts, raking in $2.1 million domestically in its 11th weekend. Its global earnings are now over $1.6 billion.

“This is an incredible turnaround for Disney, who almost fell off the radar, shockingly enough, last year and over the course of the pandemic,” said Paul Dergarabedian, the senior media analyst for Comscore. “They got a couple of billion-dollar films out so far and ‘Moana 2’ is still up on the way. This is a huge comeback year for Disney – no question about it.”

Romantic drama “It Ends With Us,” another repeat chart-topper, landed in third place for the second consecutive weekend with $11.9 million. The Sony movie starring Blake Lively and Justin Baldoni, who also directed, has made $242.6 million to date globally. It cost only $25 million to produce.

The new releases were victim to the crowded movie marketplace, resulting in what Dergarabedian called “box office deja vu,” with the familiar films dominating and making it harder for the new releases to find their footing. Dergarabedian says the upcoming Labor Day holiday will likely benefit the newer titles as word-of-mouth spreads and more people head to theaters during the long weekend.

“Blink Twice,” directed by Zoe Kravitz and starring her life partner Channing Tatum, saw a modest opening, taking in $7.3 million and claiming fourth place on the charts. The Amazon MGM Studios psychological thriller follows Tatum as tech magnate Slater King, who whisks two women away to his private island.

While it may seem like a picture-perfect vacation at first, much more sinister events unfold as the visitors learn the truth about the island and the billionaire. The film’s budget has been reported at $20 million.

Reviews have been mixed, with audiences giving the film a B- CinemaScore, but the film has been deemed Certified Fresh on Rotten Tomatoes with a 79% score.

Rounding out the top five was “The Forge,” a faith-focused coming-of-age movie about a young man finding his way through Christianity. The film opened with $6.6 million and received an A+ CinemaScore from audiences. It was released by Affirm Films, Sony’s faith-based banner.

Another new release, “The Crow,” was beat out by “Twisters” and “Coraline” in the rankings. “Twisters” entered its sixth week with $6.2 million in domestic earnings and “Coraline,” which was re-released for its 15th anniversary last week, brought in an additional $5.1 million in its second weekend.

Lionsgate’s “The Crow,” an R-rated adaptation of the acclaimed graphic novel and a remake of the 1994 film of the same name, opened with $4.6 million. The studio also floundered in August with the release of “Borderlands,” an adaptation of the video game, which made $15.2 million over three weekends compared to its reported $120 million budget.

To complete the “tale of the holdovers,” as Dergarabedian put it, “Despicable Me 4” and “Inside Out 2” closed out the top 10 films of the weekend, bringing in $4.4 million and $2.1 million, respectively. “Inside Out 2” has been on the charts for 11 consecutive weekends and remains the No. 1 animated film of all time globally.

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

1. “Deadpool & Wolverine,” $18.3 million.

2. “Alien: Romulus,” $16.2 million.

3. “It Ends With Us,” $11.9 million.

4. “Blink Twice,” $7.3 million.

5. “The Forge,” $6.6 million.

6. “Twisters,” $6.2 million.

7. “Coraline,” $5.1 million.

8. “The Crow,” $4.6 million.

9. “Despicable Me 4,” $4.4 million.

10. “Inside Out 2,” $2.1 million.
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Dubai, United Arab Emirates — U.S. rapper Macklemore has announced he is cancelling an upcoming show in Dubai over the UAE’s involvement in the conflict in Sudan, charges the Gulf state has denied.

The rapper best known for hits like 2012’s “Thrift Shop” made the announcement in a post on social media on Saturday.

“I have decided to cancel my upcoming show in Dubai this October,” he said.

“Over the last several months I’ve had a number of people reach out to me, sharing resources and asking me to cancel the show in solidarity with the people of Sudan,” he said.

“Until the UAE stops arming and funding the RSF I will not perform there,” Macklemore added, referring to the paramilitary Rapid Support Forces that have been battling the Sundanese army.

War has raged since April 2023 between the Sudanese army, under the country’s de facto ruler Abdel Fattah al-Burhan, and the RSF, which is commanded by Burhan’s former deputy Mohamed Hamdan Daglo.

For months, the army has accused the UAE of supporting the RSF.

In June, Sudan’s ambassador to the United Nations Al-Harith Idriss al-Harith Mohamed called Abu Dhabi’s financial and military support for the RSF the “main reason behind this protracted war.”

The UAE has denied allegations of RSF support as “disinformation,” saying that it’s efforts are focused exclusively towards de-escalation and alleviating Sudan’s humanitarian suffering.

Macklemore has released socially aware music in the past, supporting LGBTQ+ rights while also criticizing ills including poverty and consumerism.

In his latest track released in May, Macklemore voices support for Palestinians and also praises students across the United States protesting against Israel’s war in Gaza.

The song, “Hind’s Hall,” is named after a building at Columbia University that students recently occupied and renamed after Hind Rajab, a six-year-old Palestinian girl killed in Gaza. 
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Herat, Afghanistan — Seated in front of a searing furnace, Ghulam Sakhi Saifi teases forth sinews of molten blue glass — the guardian of an Afghan glassblowing trade refusing to break with tradition.

“This is our art, our inheritance. It has fed us for a long time,” he told AFP, resting from the work that has singed his knuckles and calloused his palms.

“We are trying to make sure it is not forgotten. If we do not pass it down, it will disappear from the whole world,” said Saifi, who guesses his age is around 50.

Glassblowing in Afghanistan’s western city of Herat is an ancient craft. Saifi says it has run in his family for about three centuries.

The last two furnaces in the windswept metropolis near the border with Iran are in his family home and a mud-and-straw shed with a holey roof in the shadow of Herat’s citadel.

‘Slow suffocation’

Saifi now lights one of the furnaces only once a month — eking out around $30 from his stock of cups, plates and candleholders after expensive wood for fuel, dyes and other raw materials are accounted for.

He attributes the dramatic downturn to the exodus of already low numbers of foreign customers during the COVID-19 pandemic followed by the 2021 Taliban takeover, which saw many diplomats and aid workers pack up and leave.

Cheaper Chinese-made imports have also dented demand.

“There have been times when we haven’t worked for three months — we sit at home forever,” he said.

“Locals have no use for these products, for the price they would first think to buy two loaves of bread for their children.”

But when the furnace is lit, Saifi is in his element.

With a crude kitchen knife and a blowpipe he pulls glowing globs of glass out of the mud furnace and inflates them into household wares.

Unlike in the past, when they used quartz, the glassblowers now use easier-to-find recycled bottles shattered into shards and superheated back into their liquid state.

The green and blue pieces cool into charmingly imperfect shapes, shot through with air bubbles, and are sold from clattering piles in shops in Herat and the capital Kabul for around $3 each.

Outside the shed it is already 36 degrees Celsius but stepping over the threshold is like being gripped by a sudden fever.

“Sometimes we really feel the heat, I think I am being slowly suffocated,” Saifi said. “But this is our inheritance, we are used to it.

“Today is a bad day, but maybe it will get better in the future. Maybe the day after tomorrow, we hope to God.”

‘Craft needs to endure’

A gaggle of boys and teenagers assists Saifi in his work, but it is growing hard to tempt the younger generation into a trade they view as a dead end.

His eldest son became an expert in the craft only to abandon it for migrant labor over the border in Iran.

Two cousins who learned to blow glass also saw no future and downed their tools.

His middle son, 18-year-old Naqibullah, vows he will continue the trade, though it’s not clear how.

Before the Taliban takeover there was still enough demand for three days of work a week — a distant prospect for the young man who shares shifts with his father on the rare occasion they light the furnaces.

“We hope that there is a future and that day by day things will get better,” Naqibullah said.

“Even if we’re not making much money the craft needs to endure,” he added. “The art of making things by hand needs to be preserved. We can’t let this skill disappear.”
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NEW YORK — It started a couple of years ago when Juliana Pache was doing a crossword puzzle and got stuck.

She was unfamiliar with the reference that the clue made. It made her think about what a crossword puzzle would look like if the clues and answers included more of some subjects that she was familiar with, thanks to her own identity and interests — Black history and Black popular culture.

When she couldn’t find such a thing, Pache decided to do it herself. In January 2023, she created blackcrossword.com, a site that offers a free mini-crossword puzzle every day. And Tuesday marked the release of her first book, Black Crossword: 100 Mini Puzzles Celebrating the African Diaspora.

It’s a good moment for it, nearly 111 years after the first crossword appeared in a New York newspaper. Recent years have seen an increasing amount of conversation around representation in crossword puzzles, from who’s constructing them to what words can be used for answers and how the clues are framed. There’s been a push to expand the idea of the kinds of “common knowledge” players would have to fill them out.

“I had never made a crossword puzzle before,” Pache, 32, said with a laugh. “But I was like, ‘I can figure it out.’”

And she did.

Made ‘with Black people in mind’

Each puzzle on Pache’s site includes at least a few clues and answers connecting to Black culture. The tagline on the site: “If you know, you know.”

The book is brimming with the kinds of puzzles that she estimates about 2,200 people play daily on her site — squares made up of five lines, each with five spaces. She aims for at least three of the clues to be references to aspects of Black cultures from around the world.

Pache, a native of the New York City borough of Queens with family ties to Cuba and the Dominican Republic, had a couple of goals in mind when she started. Primarily, she wanted to create something that Black people would enjoy.

“I’m making it with Black people in mind,” she said. “And then if anyone else enjoys it, they learn things from it, that’s a bonus but it’s not my focus.”

She’s also trying to show the diversity in Black communities and cultures with the clues and words she uses, and to encourage people from different parts of the African diaspora to learn about each other.

“I also want to make it challenging, not just for people who might be interested in Black culture, but people within Black culture who might be interested in other regions,” she said. “Part of my mission with this is to highlight Black people from all over, Black culture from all over. And I think … that keeps us learning about each other.”

What, really, is ‘general knowledge’?

While on the surface if might just seem like a game, the knowledge base required for crosswords does say something about what kind of knowledge is considered “general” and “universal” and what isn’t, said Michelle Pera-McGhee, a data journalist at The Pudding, a site that focuses on data-driven stories.

In 2020, Pera-McGhee undertook a data project analyzing crossword puzzles through the decades from a handful of the most well-known media outlets. The project assessed clues and answers that used the names of real people to determine a breakdown along gender and race categories.

Unsurprisingly, the data indicated that for the most part, men were disproportionately more likely than women to be featured, as well as white people compared to racial and ethnic minorities.

It’s “interesting because it’s supposed to be easy,” Pera-McGhee said. “You want … ideally to reference things that people, everybody knows about because everyone learns about them in school or whatever. … What are the things that we decide we all should know?”

There are efforts to make crosswords more accessible and representative, including the recently started fellowship for puzzle constructors from underrepresented groups at The New York Times, among the most high-profile crossword puzzles around. Puzzle creators have made puzzles aimed at LGBTQ+ communities, at women, using a wider array of references as Pache is doing.

Bottom line, “it is really cool to see our culture reflected in this medium,” Pache said.

And, Pera-McGhee said, it can be cool to learn new things.

“It’s kind of enriching to have things in the puzzle that you don’t know about,” she said. “It’s not that the experience of not knowing is bad. It’s just that it should maybe be spread out along with the experience of knowing. Both are kind of good in the crossword-solving experience.”
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