SANTA FE, N.M. — Alec Baldwin’s trial in the shooting of a cinematographer is set to begin Tuesday with the selection of jurors who will be tasked with deciding whether the actor is guilty of involuntary manslaughter.
Getting chosen to serve in a trial of such a major star accused of such a major crime would be unusual even in Los Angeles or Baldwin’s hometown of New York. But it will be essentially an unheard-of experience for those who are picked as jurors in Santa Fe, New Mexico, though the state has increasingly become a hub of Hollywood production in recent years.
Baldwin and his wife Hilaria arrived at the courthouse Tuesday with at least one of their youngest children. The couple have several children, with the youngest set to turn 2 in September.
Baldwin, 66, could get up to 18 months in prison if jurors unanimously decide he committed the felony when a revolver he was pointing at cinematographer Halyna Hutchins went off, killing her and wounding director Joel Souza during a rehearsal for the Western film “Rust” in October 2021 at Bonanza Creek Ranch, some 18 miles (29 kilometers) from where the trial is being held.
Baldwin has said the gun fired accidentally after he followed instructions to point it toward Hutchins, who was behind the camera. Unaware the gun contained a live round, Baldwin said he pulled back the hammer — not the trigger — and it fired.
The star of “30 Rock” and “The Hunt for Red October” made his first appearance in the courtroom on Monday, when Judge Mary Marlowe Summer, in a significant victory for the defense, ruled at a pretrial hearing that Baldwin’s role as a co-producer on “Rust” isn’t relevant to the trial.
The judge has said that the special circumstances of a celebrity trial shouldn’t keep jury selection from moving quickly, and that opening statements should begin Wednesday.
“I’m not worried about being able to pick a jury in one day,” Marlowe Summer said. “I think we’re going to pick a jury by the afternoon.”
Special prosecutor Kari Morrissey, however, was dubious that Baldwin’s lawyers, with whom she has clashed in the run-up to the trial, would make that possible.
“It is my guess that with this group of defense attorneys, that’s not gonna happen,” Morrissey said at the hearing.
Baldwin attorney Alex Spiro replied, “I’ve never not picked a jury in one day. I can’t imagine that this would be the first time.”
Dozens of prospective jurors will be brought into the courtroom for questioning Tuesday morning. Cameras that will carry the rest of the proceedings will be turned off to protect their privacy. Jurors are expected to get the case after a nine-day trial.
Attorneys will be able to request they be dismissed for conflicts or other causes. The defense under state law can dismiss up to five jurors without giving a reason, the prosecution three. More challenges will be allowed when four expected alternates are chosen.
Before Marlowe Sommer’s ruling Monday, prosecutors had hoped to highlight Baldwin’s safety obligations on the set as co-producer to bolster an alternative theory of guilt beyond his alleged negligent use of a firearm. They aimed to link Baldwin’s behavior to “total disregard or indifference for the safety of others” under the involuntary manslaughter law.
But the prosecution managed other wins Monday. They successfully argued for the exclusion of summary findings from a state workplace safety investigation that placed much of the blame on the film’s assistant director, shifting fault away from Baldwin.
And the judge ruled that they could show graphic images from Hutchins’ autopsy, and from police lapel cameras during the treatment of her injuries.
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Popular Mexican actor Eugenio Derbez has successfully transitioned to Hollywood. His bilingual comedy “Acapulco” on Apple TV is critically acclaimed and has put his work in front of new audiences. The show’s star and producer spoke with Veronica Villafañe about his mission to create an authentic, family-friendly series that positively represents his home country.
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NEW YORK — The entertainment giant Paramount will merge with Skydance, closing out a decades-long run by the Redstone family in Hollywood and injecting desperately needed cash into a legacy studio that has struggled to adapt to a shifting entertainment landscape.
It also signals the rise of a new power player, David Ellison, the founder of Skydance and son of billionaire Larry Ellison, the founder of the software company Oracle.
Shari Redstone’s National Amusements has owned more than three-quarters of Paramount’s Class A voting shares through the estate of her late father, Sumner Redstone. She had battled to maintain control of the company that owns CBS, which is behind blockbuster films such as “Top Gun” and “The Godfather.”
Just weeks after turning down a similar agreement with Skydance, however, Redstone agreed to a deal on terms that had not changed much.
“Given the changes in the industry, we want to fortify Paramount for the future while ensuring that content remains king,” said Redstone, who is chair of Paramount Global.
The new combined company is valued at around $28 billion. In connection with the proposed transaction, which is expected to close in September 2025 pending regulatory approval, a consortium led by the Ellison family and RedBird Capital will be investing $8 billion.
Skydance, based in Santa Monica, California, has helped produce some major
Paramount hits in recent years, including Tom Cruise films like “Top Gun: Maverick” and installments of the “Mission Impossible” series.
Skydance was founded in 2010 by David Ellison and it quickly formed a production partnership with Paramount that same year. If the deal is approved, Ellison will become chairman and chief executive officer of what’s being called New Paramount.
Ellison outlined the vision for New Paramount on a conference call about the transaction Monday. In addition to doubling down on core competencies, notably with a “creative first” approach, he stressed that the company needs to transition into a “tech hybrid” to stay competitive in today’s evolving media landscape.
“You’ve watched some incredibly powerful technology companies move into the … media space and do so very successfully,” Ellison said. He added that it was “essential” for New Paramount to chart a similar course going forward.
That includes plans to “rebuild” the Paramount+ streaming service, Ellison noted — pointing to wider goals to expand direct-to-consumer business, such as increasing engagement time on the platform and reducing user churn. He also said that the company aims to transition to more cloud-based production and continue the use of generative artificial intelligence to boost efficiency.
Executives also outlined further restructuring plans for New Paramount on Monday’s conference call, with chairman of RedBird Sports and Media Jeff Shell noting that they had identified some $2 billion in cost efficiencies and synergies that they’ll “attempt to deliver pretty rapidly.”
Shell and others addressed the declining growth of linear TV. Flagship linear brands will continue to represent a big chunk of the company’s operations, but learning how to run this portion of business differently will be key, he said.
Paramount’s struggles
The on-again, off-again merger arrives at a tumultuous time for Paramount, which has struggled to find its footing for years and its cable business has been hemorrhaging. In an annual shareholder meeting in early June, the company also laid out a restructuring plan that included major cost cuts.
Leadership at Paramount was also volatile earlier this year after its CEO Bob Bakish, following several disputes with Redstone, was replaced with an “office of the C.E.O,” run by three executives. Four company directors were also replaced.
Paramount is one of Hollywood’s oldest studios, dating back its founding in 1914 as a distributor. Throughout its rich history, Paramount has had a hand in releasing films — from “Sunset Boulevard” and “The Godfather,” to “Raiders of the Lost Ark” and “Titanic.”
The studio also distributed several early Marvel Cinematic Universe films, including “Iron Man” and “Thor,” before the Disney acquisition. In addition to “Mission: Impossible” and “Top Gun,” Paramount’s current franchises include “Transformers,” “Star Trek” and “Jackass.”
While Paramount has not topped the annual domestic box office charts for over a decade, the wild box office success of “Top Gun: Maverick” in 2022 (nearly $1.5 billion worldwide) was an important boon to both movie theaters and the industry’s pandemic recovery.
Still, its theatrical output has declined somewhat in recent years. Last year it released only eight new movies and came in fifth place for overall box office at around $2 billion — behind Universal (24 films), Disney (17 films), Warner Bros. and Sony.
Movie plans
This year the release calendar is similarly modest, especially with the absence of “Mission: Impossible 8,” which was pushed to 2025 amid the strikes. The studio has had some successes, with “Bob Marley: One Love” and “A Quiet Place: Day One,” and still to come is Ridley Scott’s “Gladiator” sequel.
The National Association of Theatre Owners, a trade organization that represents over 35,000 screens in the U.S., said in a statement Monday that it plans to look closely at the details of the merger with an eye toward whether it will produce more or less theatrical releases.
“We are encouraged by the commitment that David Ellison and the Skydance Media team have shown to theatrical exhibition in the past,” said Michael O’Leary, president and CEO of the National Association of Theatre Owners. “A merger that results in fewer movies being produced will not only hurt consumers and result in less revenue, but negatively impact people who work in all sectors of this great industry — creative, distribution and exhibition.”
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JOANETES, Spain — Xavier Pallàs plants his feet on the belfry floor, grips the rope, and with one tug fills the lush Spanish valley below with the reverberating peal of a church bell.
Clang-clong! Clang-clong! Clang-CLONG! The swinging bronze bell resonates with each strike of the clapper, filling the small stone tower with an undulating hum. Once Pallàs finishes his peals, the metallic melody fades to stillness. Silence returns to the tower, giving the valley’s soundscape back to the birdsongs and rooster crows.
For most, church bells are just a quaint bit of automated background noise. But Pallàs and his 18 students at the Vall d’en Bas School of Bell Ringers are trying to change that by resuscitating the dwindling art of tolling — and communicating — by hand.
The shift to mechanical tolling devices over the past century has flattened the bells’ dynamic songs and muted their messaging powers, said Pallàs, the school’s founder and director. If played with the know-how, the sounding of church bells in various sequences, tones and rhythms can signal the time for rejoicing or mourning and when to run to the aid of a neighbor in need.
“For centuries, the tolling of church bells was our most important communication method,” said Pallàs, standing inside the belfry which doubles as his classroom.
“Machines cannot reproduce the richness of the sounds that we used to hear, so there has been a simplification and unification of bell ringing. The language has been lost little by little until now, when we are finally recognizing its worth.”
Before newspapers, radio, telephones, television and the internet, it was bellringing that transmitted important information. A physically demanding job that required long hours and complete dedication, to be a bellringer was to be a human clock and the public loudspeaker.
While manual church bell ringing has persisted in Eastern Orthodox countries, it has largely been replaced by bell ringing systems in Catholic and Protestant churches in Western Europe.
Many of Spain’s church bell towers that were automized in the 1970s and ’80s are in a dire state, said Pallàs, who witnessed widespread problems while researching the belfries of Garrotxa, a county in northeast Catalonia. The rural area is known for its verdant hills, dormant volcanoes and picturesque villages where most people speak Catalan before Spanish.
His research included the 12th century Sant Romà church in Joanetes, a tiny village about two hours north of Barcelona, where Pallàs has spent the past 10 months teaching the inaugural class one Saturday a month.
“Since the last generation of bellringers had died off, the only thing to do was to train new ones in how to toll the bells. And that’s where the idea of the school was born,” Pallàs said.
Intangible heritage
The initiative comes two years after UNESCO added manual bellringing in Spain to its compendium of humanity’s intangible cultural heritage. UNESCO described how the bells had knitted together communities even before they were functioning modern states.
“The first thing we have to do is rediscover the bells. That is why this school is so important,” said Roman Gené Capdevila, president of Catalonia’s Bell Ringers brotherhood. “There are so many ways to ring a bell, what we need are bellringers.”
The bellringing course, officially recognized by the ISCREB theology school in Barcelona, finished last week with a demonstration by the class. All drawn to the allure of the banging bells, the students were men and women with diverse professional backgrounds ranging from engineering to teaching. One was in his 20s; several were retirees.
They spent the past few months researching old chiming sequences, documenting their origins and learning to play them. That ethnographic task meant students had to search out old bellringers, or their family members, to record what they knew.
Roser Sauri jumped at the chance to reconnect with her childhood by recovering and playing the chiming sequence that had sounded in her grandfather’s village when he was baptized.
“The bells formed a part of my life,” said Sauri, who now works in artificial intelligence. She missed their constancy while studying for her computing doctorate in Boston, where she heard none.
“When I visited my family, I began to associate the sound of church bells with being back home.”
The human touch
The students took turns tolling sequences for everything from calls to Easter Mass, bad weather warnings, help for fighting a fire to orders for the village militia. They also could tell workers to get back to reaping wheat, or housewives when the fresh fish was coming to market and even how much it cost. Many of the ringers wore earplugs or headphones to muffle the deafening peals.
The students tolled a gamut of death announcements that could specify gender and social class. Juan Carles Osuna and two others tolled for the death of a woman. That meant swinging the largest bell at 429 kilos (945 pounds). It still had a clapper secured in the traditional method of using a dried skin of an ox penis.
Osuna, who paints church murals, also performed a complex sequence with all four of belfry’s bells that required him to sit in a chair with ropes looped around his hands and feet.
“Whew! It’s an emotional experience. You feel your blood pumping. You feel the strength, and how you are communicating with everyone in earshot,” he said. “For me it is an honor, it’s a way to honor both humans and God.”
The hesitation, the variation in the strength of each toll: in these details, and sometimes mistakes, the listener can hear the creator of the sound.
“The (automated) hammer will always be mathematically precise,” Osuna said. “There is emotion in the human touch. There is a human element.”
Utopian, quixotic? Maybe not
What might seem like a quixotic mission has so far had a promising start.
While admitting that his dream of having a bell ringer for every bell tower is “utopian,” Pallàs said he has a full class lined up for the fall and some 60 more people on a waiting list. Many of his graduating pupils, including Sauri and Osuna, hope to continue playing at their local parishes or help convert their belfries into systems that allow manual ringing.
Pallàs believes that a recovery of bell ringing in a neighborhood or town’s life could help strengthen communities in this dizzying age of technological, economic and political change.
“This is a means of communication that reaches everyone inside a local community and can help it come together at concrete moments,” Pallàs said. “That can include a death in the community or the celebration of a holiday. It can help mark the rituals that we need.”
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New Orleans, Louisiana — For 30 years, the Essence Festival of Culture has brought together people from all walks of life and from around the world to connect through conversation, shared experiences and, of course, music.
The nation’s largest annual celebration of Black culture was set to end Sunday with musical performances by Janet Jackson and a special tribute to Frankie Beverly & Maze, the soul band that closed the event for the festival’s first 15 years. Beverly, now 77, has said he is stepping away from performing live, and the group has been on a farewell tour.
Others scheduled to perform included Victoria Monet, Teedra Moses, Tank and the Bangas, Dawn Richard, SWV, Jagged Edge, Bilal and Anthony Hamilton.
Barkue Tubman-Zawolo, chief of staff, talent and diasporic engagement for Essence Ventures, told The Associated Press the festival helps connect the global Black community.
“Historically, as Black people, sometimes we’re not sure where our heritage comes from,” Tubman-Zawolo said. “America is just one place. But within America there’s a melting pot of different Black cultures: Africa, Latin, Europe, the Caribbean. Understanding that allows our power to be even greater.”
Tubman-Zawolo said those connections could be seen throughout this year’s Film Festival, held at the city’s convention center, where fans heard from storytellers from Nigeria, Ghana and the Caribbean “who are targeting our stories about us, for us, globally.”
She noted similar connections through the Food and Wine stage, where discussions highlighted Caribbean and African cuisine; the Soko Market Place, where vendors from all over the world shared their craft; and on the Caesars Superdome stage, which spotlighted Caribbean and African artists including Machel Montano of Trinidad and Ayra Starr of Nigeria.
“All of that occurred over four days,” Tubman-Zawolo said. “But the beauty of it is, it doesn’t stay here. (Fans) take it with them.”
New Orleans Mayor Latoya Cantrell said this year’s “We Love Us” theme was appropriate.
“This whole ‘We Love Us’ theme brought us together to build communities,” she said.
The festival’s impact on the city and state has surpassed $300 million, with more than 500,000 people visiting since 1994.
Essence started the festival as a way to celebrate 25 years of the magazine’s history.
“The locals are being incorporated in a manner that we can see and touch and feel and smell. That has been a part of the evolution of Essence,” Cantrell said.
The event’s current contract ends in 2026, but Essence Ventures CEO Caroline Wanga has said the festival’s “forever home” is New Orleans.
“That’s what we believe as well,” Cantrell said. “We have a foundation that’s been laid over 30 years. The city is always ready and prepared to host this event and more. I think staying in New Orleans is the best fit and best marriage, the best partnership.”
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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.
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“Despicable Me 4,” $75 million.
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“Inside Out 2,” $30 million.
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“A Quiet Place Day One,” $21 million.
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“MaXXXine,” $6.7 million.
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“Bad Boys: Ride or Die,” $6.5 million.
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“Horizon: An American Saga, Chapter 1,” $5.5 million.
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“Sound of Hope: The Story of Possum Trot,” $3.2 million.
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“Kaiki 2898,” $1.8 million.
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“The Bikeriders,” $1.3 million.
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“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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berlin — Turkish supporters making their way to the European Championship quarterfinal against the Netherlands made the same nationalistic hand gesture that got a Turkey player banned from the match.
More did the gesture again in the stadium during Turkey’s national anthem before Saturday’s game.
Berlin police said on X on that the gesture was “massively shown” by the fans on their way to the Olympiastadion and they had therefore stopped their march and asked them to stop making it. Fans were asked to make their own way as individuals to the game – as long as they had a ticket for it.
“When a lot of people are doing this gesture, it becomes a political demonstration and a football march is not political demonstration,” police spokesperson Valeska Jakubowski told The Associated Press.
The fans were making a gesture that is used by Turkish nationalists and associated with the Turkish ultra-nationalist organization Ulku Ocaklari, which is more widely known as the Gray Wolves.
Jakubowski acknowledged that showing the gesture is not banned in Germany. She said some arrests were made, “very few,” but they were likely for other reasons.
Turkey defender Merih Demiral was banned for two games by UEFA on Friday for making the gesture after scoring in Turkey’s round-of-16 win over Austria in Leipzig on Tuesday, an incident that led to a diplomatic row between Turkey and Euro 2024 host nation Germany.
The ban rules Demiral out of Saturday’s quarterfinal, and the semifinal should Turkey progress.
The Turkish Football Federation joined Turkish government officials in denouncing the suspension.
Turkish President Recep Tayyip Erdogan changed plans to visit Azerbaijan to attend Saturday’s match. He had defended Demiral, saying on Friday the defender merely expressed his “excitement” after scoring.
Demiral and Turkish authorities have defended the sign as an expression of Turkish pride. Critics say it glorifies a right-wing group known for racism and violence against minorities.
The Gray Wolves group was founded as the youth wing of Turkey’s far-right Nationalist Movement Party, or MHP, which is currently in an alliance with Erdogan’s ruling party, the Justice and Development Party.
In the decades following its founding in the 1960s, the group was accused of involvement in politically motivated violence, mostly against leftist groups.
German authorities believe the group has around 12,100 in the country. It is monitored by Germany’s federal domestic agency.
The group has been banned in France, while Austria has banned the use of the Gray Wolf salute.
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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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