YCLOAK

MONTREAL — American figure skating star Ilia Malinin is a world champion — and a world-record holder.

Malinin put on a dominant display that included a jaw-dropping six quad jumps — including his patented quad axel — to snag the men’s singles crown Saturday night at the world championships.

After placing third in Thursday’s short program, the 19-year-old scored a world record 227.79 in the free program while skating to the Succession soundtrack to bring his total to 333.76 — more than 20 points than the rest of the field.

Malinin dropped to the ice in disbelief after presenting his routine to a rowdy Bell Centre crowd that cheered and clapped the whole way.

He dethroned two-time defending world champion Shoma Uno of Japan, who fell to fourth (280.85) after missing two quad jumps to start his program.

Yuma Kagiyama of Japan won silver (309.65) and Adam Siao Him Fa of France claimed bronze (284.39). Siao Him Fa climbed from 19th to third with an awe-inspiring display of his own, which included a backflip.

Earlier Saturday, 2022 Olympic champions Madison Chock and Evan Bates of the United States defended their ice dance world title with a season-best total score of 222.20.

Canada’s Piper Gilles and Paul Poirier won silver (219.68) and Italy’s Charlene Guignard and Marco Fabbri claimed bronze (216.52).

It’s Montreal’s first time hosting the event since 1932. The city was supposed to stage the 2020 championship but the COVID-19 pandemic shut down the competition.

Boston will hold the 2025 competition.
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NEW YORK — Babar author Laurent de Brunhoff, who revived his father’s popular picture book series about an elephant-king and presided over its rise to a global, multimedia franchise, has died. He was 98.

De Brunhoff, a Paris native who moved to the U.S. in the 1980s, died Friday at his home in Key West, Florida, after being in hospice care for two weeks, according to his widow, Phyllis Rose.

Just 12 years old when his father, Jean de Brunhoff, died of tuberculosis, Laurent was an adult when he drew upon his own gifts as a painter and storyteller and released dozens of books about the elephant who reigns over Celesteville, among them Babar at the Circus and Babar’s Yoga for Elephants. He preferred using fewer words than his father did, but his illustrations faithfully mimicked Jean’s gentle, understated style.

“Together, father and son have woven a fictive world so seamless that it is nearly impossible to detect where one stopped and the other started,” author Ann S. Haskell wrote in The New York Times in 1981.

The series has sold millions of copies worldwide and was adapted for a television program and such animated features as Babar: The Movie and Babar: King of the Elephants. Fans ranged from Charles de Gaulle to Maurice Sendak, who once wrote, “If he had come my way, how I would have welcomed that little elephant and smothered him with affection.”

De Brunhoff would say of his creation, “Babar, c’est moi” (“that’s me”), telling National Geographic in 2014 that “he’s been my whole life, for years and years, drawing the elephant.”

The books’ appeal was far from universal. Some parents shied from the passage in the debut, The Story of Babar, the Little Elephant, about Babar’s mother being shot and killed by hunters. Numerous critics called the series racist and colonialist, citing Babar’s education in Paris and its influence on his (presumed) Africa-based regime. In 1983, Chilean author Ariel Dorfman would call the books an “implicit history that justifies and rationalizes the motives behind an international situation in which some countries have everything and other countries almost nothing.”

“Babar’s history,” Dorfman wrote, “is none other than the fulfillment of the dominant countries’ colonial dream.”

Adam Gopnik, a Paris-based correspondent for The New Yorker, defended Babar, writing in 2008 that it “is not an unconscious expression of the French colonial imagination; it is a self-conscious comedy about the French colonial imagination and its close relation to the French domestic imagination.”

De Brunhoff himself acknowledged finding it “a little embarrassing to see Babar fighting with Black people in Africa. He especially regretted Babar’s Picnic, a 1949 publication that included crude caricatures of Blacks and American Indians — and asked his publisher to withdraw it.

De Brunhoff was the eldest of three sons born to Jean de Brunhoff and Cecile de Brunhoff, a painter. Babar was created when Cecile de Brunhoff, the namesake for the elephant’s kingdom and Babar’s wife, improvised a story for her kids.

“My mother started to tell us a story to distract us,” de Brunhoff told National Geographic in 2014. “We loved it, and the next day we ran to our father’s study, which was in the corner of the garden, to tell him about it. He was very amused and started to draw. And that was how the story of Babar was born. My mother called him Bebe elephant (French for baby). It was my father who changed the name to Babar. But the first pages of the first book, with the elephant killed by a hunter and the escape to the city, was her story.”

The debut was released in 1931 through the family-run publisher Le Jardin Des Modes. Babar was immediately well received, and Jean de Brunhoff completed four more Babar books before dying six years later, at age 37. Laurent’s uncle, Michael, helped publish two additional works, but no one else added to the series until after World War II, when Laurent, a painter by then, decided to bring it back.

“Gradually I began to feel strongly that a Babar tradition existed and that it ought to be perpetuated,” he wrote in The New York Times in 1952.

De Brunhoff was married twice, most recently to the critic and biographer Phyllis Rose, who wrote the text to many of the recent Babar publications, including the 2017 release billed as the finale, Babar’s Guide to Paris. He had two children, Anne and Antoine, but the author did not consciously write for young people.

“I never really think of children when I do my books,” he told The Wall Street Journal in 2017. “Babar was my friend and I invented stories with him, but not with kids in a corner of my mind. I write it for myself.” 
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ROME — Maurizio Pollini, a Grammy-winning Italian pianist who performed frequently at La Scala opera house in Milan, has died. He was 82.

Pollini died Saturday, La Scala said in a statement. The announcement didn’t specify a cause of death, but Pollini had been forced to cancel a concert at the Salzburg Festival in 2022 because of heart problems.

During a six decades-long international career, Pollini’s repertoire expanded beyond the standard classics. He embraced early 20th-century masterpieces by Igor Stravinsky, Arnold Schoenberg and Anton Webern and postwar modernists such as Karlheinz Stockhausen, Pierre Boulez and Luigi Nono.

La Scala defined the pianist as “one of the great musicians of our time and a fundamental reference in the artistic life of the theater for over 50 years.”

Pollini was considered a pianist with unique intellectual power, whose unrivalled technique and interpretive drive compelled listeners to think deeply.

He was born in Milan on January 5, 1942, into a family of artists. His father, Gino Pollini, was a violinist and a leading rationalist architect. His mother, Renata Melotti, sang and played the piano, as did her brother, Fausto Melotti, who was also a pioneer of abstract sculpture.

“I grew up in a house with art and artists,” Pollini said in an interview. “Old works and modern works coexisted together as part of life.”

Pollini began giving concerts before his 10th birthday, performing Chopin’s Etudes at age 14 and then winning the International Chopin Piano Competition at 18, as the youngest foreign pianist among a group of 89 contestants.

Arthur Rubinstein, president of the jury, reportedly said that the young pianist “already plays better than any of us.”

After his first international recognition, however, Pollini put his career on hold to study, explaining that performing right away would have been for him “a little premature.” 

“I wanted to study, get to know the repertoire better, play the music of Beethoven, Schubert, Brahms,” he said.

In the late 1960s, Pollini participated in improvised concerts in factories and programs for students and workers at La Scala, conducted by longtime friend Claudio Abbado.

During his long international career, he also collaborated with other famous conductors, including Riccardo Muti, Daniel Barenboim and Riccardo Chailly.

Pollini performed his first American tour in 1968. From the 1970s to the ’90s, he made a series of recordings with the Deutsche Grammophon label, becoming a celebrated interpreter of classics like Beethoven, Schumann and Schubert.

His albums won several awards, including a Grammy in 2007 for Best Instrumental Soloist Performance (without orchestra) for Chopin: Nocturnes.

He is survived by his wife, Marilisa, and his son, Daniele, also an acclaimed pianist and conductor. 
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LONDON — England’s new men’s soccer team shirt is causing a bit of a stir. It’s not just the price that’s vexing some.

The decision by Nike to change the color of the St. George’s Cross on the shirt from the traditional red and white has even prompted the prime minister and the man who is favored to succeed him to make their displeasure known.

A petition on Change.org calling for a design change attracted more than 22,000 signatures by early afternoon Friday.

The new Nike-designed shirt, which has been modeled by England captain Harry Kane, is being rolled out in the run-up to the European Championship in Germany. The altered cross on the back of the shirt collar has purple and blue horizontal stripes.

Nike says it’s a “playful update” to the shirt and harks to the training kit England wore at the 1966 World Cup, the only major tournament won by the men’s team. England will be starting Euro 2024 this summer as one of the favorites.

Keir Starmer, leader of the main opposition Labour Party and a fan of English Premier League leader Arsenal, said he believed the flag, which is marked by an image of the St. George’s Cross, was a “unifier” and Nike needed to “reconsider” its decision to modify it.

“It doesn’t need to be changed,” he told the Sun newspaper. “We just need to be proud of it.”

Conservative Prime Minister Rishi Sunak, on a visit to the north of England, was also asked about the altered cross.

“I prefer the original and my general view is that when it comes to our national flags, we shouldn’t mess with them because they are a source of pride, identity, who we are and they’re perfect as they are,” said Sunak, who supports Southampton, which is vying for promotion back to the Premier League.

Nike and the English Football Association have indicated they are not going to change tack.

Despite the criticism, the FA defended the design, saying it was “not the first time” different colored St. George’s Cross-inspired designs have appeared on England shirts and it was “very proud” of the traditional cross.

“The new England 2024 home kit has a number of design elements which were meant as a tribute to the 1966 World Cup-winning team,” a spokesperson said. “The colored trim on the cuffs is inspired by the training gear worn by England’s 1966 heroes, and the same colors also feature on the design on the back of the collar.”

England coach Gareth Southgate said the furor has “not been high on my list of priorities” this week as he prepares to lead the team into friendly matches against Brazil on Saturday and Belgium on Tuesday.

“It’s a hard question to answer really because it is presumably some artistic take which I am not creative enough to understand,” Southgate said when asked about his thoughts on the new design.

“What you are really asking,” he said, “is should we be tampering with the cross of St. George? In my head, if it is not a red cross and a white background, then it isn’t a cross of St. George anyway.”

Southgate added that, for him, it was more important that the symbol of the three lions stayed on the shirt than the St. George’s Cross.

“It’s our iconic symbol — it is what distinguishes us not only from football teams around the world but from England rugby and England cricket,” he said of the three lions.

John Barnes, one of England’s best players, said he could not understand what all the fuss was about.

“It’s a much ado about nothing,” the 60-year-old former winger said.

For most people, the problem will be less the color of the flag and more its price tag. An “authentic” version for adults will cost 125 pounds ($155) and 120 pounds for children. That’s quite an outlay at a time when household budgets have been stretched as a result of one of the most acute cost-of-living crises in decades.

The Football Supporters’ Association has long bemoaned the high cost of replica shirts and suggested that a “sell-by” date should be put on kits so buyers know how long it will be in use before a newer version is released.

“An unwitting parent could easily buy a kit for Christmas or a birthday to find it’s ‘old’ within a matter of months,” a spokesperson for the group said.
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Seoul — As a South Korean baseball fan, Shin Jae-woong had many reasons to watch the Los Angeles Dodgers and San Diego Padres open the Major League Baseball season this week in Seoul.

These are the first ever regular season MLB games in baseball-loving South Korea. And the games feature multiple Korean stars, including Padres infielder Kim Ha-seong.

But the main draw is obvious for Shin and his two young sons, who traveled from the southeastern city of Gwangju. They came to see Japanese superstar Shohei Ohtani.

“I think Ohtani is out of this world. He’s like another level of player,” said Shin as he watched the Dodgers practice ahead of the series opener on Wednesday.

Ohtani, the do-it-all Japanese megastar – who in December signed a record 10-year, $700 million contract with the Dodgers – draws massive crowds wherever he goes these days.

Perhaps surprisingly, Ohtani also has throngs of fans in South Korea, which shares a fierce sports rivalry and complicated history with Japan.

“He has a good personality. He’s tall. He’s good-looking,” said Eo Soo-young, a 38-year-old Seoul resident. “And that other stuff, that’s an old story.”

This week, it’s all about positive vibes, as South Korea and Japan come together around an American game, which has also become a showcase for improved ties among the three countries.

“It’s almost become a trilateral event,” said Philip Goldberg, the U.S. ambassador to Seoul, who attended the Wednesday game with several senior South Korean and Japanese officials. “In this atmosphere of better relations…it brings even more luster.”

Japan-South Korea ties have long been strained, often over issues related to atrocities committed by Japan during its brutal 1910-45 occupation of Korea. When South Korean President Yoon Suk Yeol took office in 2022, he instead chose to focus on the future, expanding security cooperation and holding several meetings with his counterpart, Japanese Prime Minister Fumio Kishida.

Nonetheless, Japan remains a sensitive issue in South Korea, where many left-leaning politicians accuse Yoon of being too friendly with Japan.

According to Japanese media reports, planning was under way for Kishida to attend Wednesday’s MLB opener in Seoul, perhaps alongside Yoon. Kishida’s visit was called off because it may have been too controversial ahead of next month’s general election in South Korea, the reports suggested.

“Even though the two governments have been able to kind of smooth things over, this historical issue hasn’t been resolved, I think. And that leaves open the possibility of the relationship deteriorating in the future,” said Benjamin Engel, a professor at Seoul National University.

For now, ties are warming, even at the people-to-people level. Recent polls suggest a majority of young Koreans want to improve relations with Japan. And South Korean interest in Japanese cultural productions, such as anime, and commercial products like beer, has surged.

In an interview with VOA, Ambassador Goldberg said he was optimistic that trilateral ties will also remain strong.

“It just makes so much sense. It’s in the interests of the three countries,” he told VOA in an interview. “There are going to be moments where we have to manage and go through different periods. But I think there’s a logic to all of this that will keep it going.”

And Ohtani – whom Koreans refer to as the “baseball genius” – can’t hurt, at least if you ask many Korean baseball fans.

Many were impressed that during his pre-game comments to the media, Ohtani had nothing but warm words for South Korea. That is a contrast to Ichiro Suzuki, another Japanese baseball legend, who stirred resentment among many Koreans by taunting, and sometimes even insulting, their country.

“(Ohtani) just respects Korea…that’s why other people respect him too,” said Seoul resident Ryoo Sung-kyu. “It’s give and take, I think.”
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LOS ANGELES — Usher was named entertainer of the year at the 55th annual NAACP Awards on Saturday night, which highlighted works by entertainers and writers of color.

After Usher accepted his award at the Shrine Auditorium in Los Angeles, the superstar R&B singer spoke about being thankful about the journey of his successful career that has lasted three decades.

He reeled off several of his recent big moments including his sold-out residency in Las Vegas, getting married, releasing his ninth studio album “Coming Home” and his Super Bowl halftime performance, which became the most-watched in the game’s history.

Usher beat out Colman Domingo, Fantasia Barrino, Halle Bailey and Keke Palmer.

“I don’t know how many people do that much stuff in one setting,” said the multi-Grammy winner, who was presented the award by Oprah Winfrey. After being surprised by Winfrey’s presence, he thanked those who have supported him throughout the years.

“This is for you, you, my number ones,” the singer said as the audience repeated his words back to him. The final words of his speech were recited lyrics from his popular song “Superstar” from his 2024 album “Confessions,” which has sold more than 10 million units in the U.S.

Earlier in the ceremony, Usher was honored with the President’s Award for the singer’s public service achievements through his New Look Foundation. He thanked the strong women in his life, including his mother and wife Jenn Goicoechea, whom he married after his Super Bowl halftime performance last month.

“The say behind or beside or with every strong man is a stronger woman,” he said.

Queen Latifah hosted the awards ceremony aired live on BET.

“The Color Purple” was awarded best motion picture. The musical film featured star-studded cast including Barrino, Taraji P. Henson, Domingo, H.E.R., Danielle Brooks, Corey Hawkins and Bailey.

Barrino, who starred as Celie in the film, won for best actress in a motion picture.

“I didn’t prepare a speech, because I didn’t think I was going to win,” the singer-actor said. “I was afraid to play Celie, but I’m glad I did. Because I kept saying ‘If I don’t win an award, the awards that I will win will come from the people who watched ‘Color Purple’ and the women who will relate to her and feel like Oscars when they walk out.’”

New Edition was inducted into the NAACP Image Awards Hall of Fame. The induction is bestowed on individuals who are viewed as pioneers in their respective fields and whose influence shaped their profession.

“We stand here in brotherhood,” said Michael Bivins while his group members behind him. The Grammy-nominated group includes Bobby Brown, Johnny Gill, Ralph Tresvant, Ronnie DeVoe and Ricky Bell.

“You’ve seen our story. You know what we’ve been through,” said Bivins, who spoke about the group overcoming conflict and tension in their earlier years to now holding a residency in Las Vegas.

“But we call each other every day,” he continued. “We text each other every day. We check on our families. You watched us grow up. We’re still growing.”

Damson Idris won best actor in a drama television series for his role in “Snowfall.” Henson and Domingo took home best supporting roles in “The Color Purple.” Domingo also won best actor in a motion picture for his role in “Rustin.”
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Warsaw, Poland — A Russian-Belarusian rock band that denounces Moscow’s Ukraine invasion returned to the stage this week, voicing defiance after being detained in Thailand in January and threatened with deportation to Russia. 

The band, Bi-2, formed in the 1980s in Belarus when it was part of the Soviet Union, left Russia in protest over the invasion and has been touring ever since in countries with large Russian-speaking communities. 

Ahead of a concert in Vilnius on Thursday, band members met with exiled Belarusian opposition leader Sviatlana Tsikhanouskaya and supporters of late Kremlin critic Alexey Navalny, who died in an Arctic prison last month. 

“We have become hostages to Russian history,” Egor Bortnik, one of the band’s two founders, told AFP ahead of a concert in Warsaw on Saturday. 

But 51-year-old Bortnik, who is better known by his stage name “Lyova,” said he was “not against the war.” 

“On the contrary, I’m for the war. I just want Ukraine to liberate its own territory,” he said. 

“Putin has to gather his orcs and get out of Ukraine,” Bortnik said, using a disparaging term for Russian soldiers frequently used by Ukrainians. 

The band was detained in Phuket, Thailand, in January on immigration charges in a case that has alarmed Russians critical of President Vladimir Putin living abroad. 

The organizers of their concerts said all the necessary permits had been obtained, but the band was issued with tourist visas in error, and they accused the Russian consulate of waging a campaign to cancel the concerts. 

After a week in detention, the band members were released and traveled to Israel, where they met with Foreign Minister Israel Katz who said in a statement that the episode showed that “music will win.” 

Several of their concerts in Russia were canceled in 2022 after they refused to play at a venue with banners supporting the war in Ukraine, after which they left the country. 

“I put my prosperity on the line when the war began, and I had to leave Russia. It was unexpected, it was not a process we had prepared for,” Bortnik said. 

Bortnik, who moved to Israel while still a teenager, said he was more used to emigration than some of his peers who left Russia in the wake of the war. 

“I understand how difficult it is,” he said. 

Bortnik said he was no “geopolitician” and does not write explicitly “political songs” although their lyrics can “hit a nerve that is constantly vibrating.” 

He said Putin’s demise could be sudden and violent and would also bring down Belarusian strongman Alexander Lukashenko, who has been in power for three decades. 

“If something happens to Putin then there could be a civil war — the finale for any tyranny,” he said. 
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Seoul — South Korea’s “Squid Game” actor O Yeong-su has been found guilty of sexual misconduct, a local court said Friday, after he was charged with assaulting a woman in 2017.

The 79-year-old in 2022 became the first South Korean to win a Golden Globe Award for best supporting actor in a series for his performance as a seemingly vulnerable old man in the mega-hit Netflix dystopian thriller.

The actor was sentenced to eight months in prison, suspended for two years, the Seongnam Branch of the Suwon District Court told AFP.

He has been also ordered to complete 40 hours of classes on sexual violence, the court added.

The victim’s own records of the assault and her claims are “consistent … and appear to be statements that cannot be made without actually experiencing them,” judge Jeong Yeon-ju said, according to the court.

O was indicted in 2022 without detention on charges of sexually assaulting a woman, who has not been identified, on two occasions.

The incidents took place when O was staying in a rural area for a theatre performance in 2017, on a walking path and in front of the victim’s residence, respectively, according to the Suwon District Court.

“Squid Game,” a series that depicts a dark world where marginalized individuals are forced to compete in deadly versions of traditional children’s games, quickly gained immense popularity on Netflix.

Within less than four weeks of its release in 2021, it attracted a staggering 111 million viewers.

The show’s success has amplified South Korea’s increasingly outsized influence on global popular culture, following global fame won by the likes of K-pop band BTS and the Oscar-winning film “Parasite.”

Multiple figures in South Korea’s film industry — including late filmmaker Kim Ki-duk and actor Cho Jae-hyun — have faced sexual assault allegations.
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SANTA FE, N.M. — Defense attorneys for Alec Baldwin urged a New Mexico judge on Thursday to dismiss a grand jury indictment against the actor in the fatal shooting of a cinematographer on the set of the Western movie “Rust.”

The indictment in January charged Baldwin with involuntary manslaughter in the death of cinematographer Halyna Hutchins on Oct. 21, 2021, at a movie ranch on the outskirts of Santa Fe.

Baldwin has pleaded not guilty to the charge. His attorneys in a new court filing accused prosecutors of “unfairly stacking the deck” against Baldwin in grand jury proceedings that diverted attention away from exculpatory evidence and witnesses.

They say that prevented the jury from asserting their obligation to hear testimony from director Joel Souza, who was wounded in the shooting while standing near Hutchins, as well as assistant director and safety coordinator Dave Halls and props master Sarah Zachry.

“The grand jury did not receive the favorable or exculpatory testimony and documents that the state had an obligation to present,” said the court motion signed by defense attorney Luke Nikas. “Nor was the grand jury told it had a right to review and the obligation to request this information.”

Prosecutor Kari Morrissey declined to comment and said a response will be filed with the court.

Baldwin’s motion also asserts that the grand jury received inaccurate and one-sided testimony about the revolver involved in the fatal shooting.

“Rust” armorer Hannah Gutierrez-Reed was convicted by a jury last week in the shooting and is being held without bond pending an April sentencing hearing. Involuntary manslaughter carries a felony sentence of up to 18 months in prison and a $5,000 fine.

Baldwin was pointing a gun at cinematographer Halyna Hutchins when the revolver went off, killing Hutchins and injuring Souza. Baldwin has maintained that he pulled back the gun’s hammer, but not the trigger.

Prosecutors blamed Gutierrez-Reed at a two-week trial for unwittingly bringing live ammunition onto the set of “Rust” where it was expressly prohibited. They also said she failed to follow basic gun-safety protocols.

Halls last year pleaded no contest to negligent handling of a firearm and completed a sentence of six months of unsupervised probation.

Baldwin is scheduled for trial in July.
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This month’s Academy Awards ceremony saw a big first for Ukraine as Mstyslav Chernov’s “20 Days in Mariupol” won the best documentary Oscar. The film is a first-person account of being in the eastern Ukrainian city during the first weeks of Russia’s invasion. Khrystyna Shevchenko talked with Chernov. Anna Rice has that story.
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WASHINGTON — The U.S. House of Representatives approved legislation Wednesday that would force the popular TikTok video app to either separate from its Chinese-owned parent company ByteDance or sell the U.S. version of the software.

The bipartisan Protecting Americans from Foreign Adversary Controlled Applications Act “gives TikTok six months to eliminate foreign adversary control — which would include ByteDance divesting its current ownership — to remain available in the United States,” said Representative Mike Gallagher, chairman of the House Select Committee on Strategic Competition Between the United States and the Chinese Communist Party, and Representative Raja Krishnamoorthi, the top Democrat on the committee.

“All TikTok would have to do is separate from CCP-controlled ByteDance. However, if TikTok chose not to rid itself of this CCP control, the application would no longer be offered in U.S. app stores. But TikTok would have no one but itself to blame,” the lawmakers said in a prepared statement.

Here’s what we know about the legislation and what happens next in the U.S. Senate.

Why is TikTok under scrutiny?

“The concern is that TikTok could transfer personal information to its parent company ByteDance, who in turn could transfer it to the Chinese government,” Caitlin Chin-Rothmann, a fellow at the Center for Strategic and International Studies, told VOA.

Chin-Rothmann said concerns by some members of Congress about the Chinese Communist Party potentially controlling TikTok’s algorithm for propaganda purposes have not yet been proven.

“That’s not to say that, in the future, there’s not a risk that the Chinese government could exert pressure,” she said.

What does TikTok say about the legislation?

TikTok on Monday called the legislation a “ban” and has repeatedly denied the allegations against it. In a statement last week on X, formerly Twitter, the company said the “legislation has a predetermined outcome: a total ban of TikTok in the United States.”

How do lawmakers view the legislation?

The bill had strong support from House Democrats and Republicans, despite congressional offices receiving floods of phone calls from Americans concerned about losing access to the social media app.

House Speaker Mike Johnson told reporters last week, “It’s an important bipartisan measure to take on China, our largest geopolitical foe, which is actively undermining our economy and security.”

What about the Senate?

The bill could face a much harder road to passage in the Democratic-controlled Senate, where Majority Leader Chuck Schumer has said it will face consideration in the appropriate committees.

“I will listen to their views on the bill and determine the best path,” Schumer said in a statement.

Some Senate Democrats, including Mark Warner, chairman of the Senate Select Committee on Intelligence, have expressed doubts about the legality of singling out a social media app in legislation. He has introduced alternative legislation more broadly targeting apps that collect personal data.

But Warner told CBS News on Sunday that the TikTok app is a serious national security concern.

“If you don’t think the Chinese Communist Party can twist that algorithm to make it the news that they see reflective of their views, then I don’t think you appreciate the nature of the threat,” Warner said.

How do the leading 2024 presidential candidates feel about the bill?

The White House said it welcomes the legislation, even though the Biden campaign joined TikTok recently as an effort to reach out to younger voters.

White House press secretary Karine Jean-Pierre told reporters the bill ensures “ownership isn’t in the hands of those who may do us harm.”

Former President Donald Trump — who initially called for a ban of the app in 2020 — has now changed course, arguing that Facebook will be empowered if TikTok is no longer available.

“There’s a lot of good, and there’s a lot of bad with TikTok. But the thing I don’t like is that without TikTok, you’re going to make Facebook bigger,” the presumptive 2024 Republican presidential nominee told U.S. cable network CNBC in a phone interview this week.

What happens after the bill passes the House?

Apart from constitutional concerns over preventing U.S. citizens from exercising their right to free speech, the bill could also be difficult to legally enforce and face challenges in U.S. courts.

“Chinese export control laws could potentially prevent the sale of TikTok’s algorithm,” Chin-Rothmann said. “A divestiture would be very logistically difficult, in general. TikTok is one of the largest companies in the world. So, any buyer would have to be very large, as well. They would have to have a strategic interest in purchasing TikTok, and then the merger would have to not raise antitrust concerns in the United States.”
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The Nigerian film industry, often referred to as Nollywood, is the second largest moviemaker in the world in terms of volume, and is making strides both in terms of art and in popularity at the box office. Timothy Obiezu reports from Abuja.
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Dohuk, Iraq — Huddled in the back of a van, Rebin Pishtiwan carefully scans one yellowed page after another, as part of his mission to digitize historic Kurdish books at risk of disappearing.

Seen as the world’s largest stateless people, the Kurds are an ethnic group of between 25 million and 35 million mostly spread across modern-day Iraq, Iran, Syria and Turkey.

In Iraq, the Kurds are a sizeable minority who have been persecuted, with thousands killed under the rule of late dictator Saddam Hussein and many of their historic documents lost or destroyed.

“Preserving the culture and history of Kurdistan is a sacred job,” said Pishtiwan, perusing volumes and manuscripts from Dohuk city’s public library in Iraq’s northern autonomous Kurdistan region.

“We aim to digitize old books that are rare and vulnerable, so they don’t vanish,” the 23-year-old added, a torn memoir of a Kurdish teacher published in 1960 in hand.

In Iraq, the Kurdish language was mostly marginalized until the Kurds’ autonomous region in the north won greater freedom after Saddam Hussein’s defeat in the 1990-1991 Gulf War.

After the U.S.-led invasion of 2003 toppled the dictator, remaining documents were scattered among libraries and universities or held in private collections.

Once a week, Pishtiwan and his two colleagues journey in their small white van from the regional capital Irbil to other Kurdish towns and cities to find “rare and old” books.

They seek texts that offer insights into Kurdish life, spanning centuries and dialects.

In Dohuk’s library, the archiving team scours the wooden bookshelves for hidden gems.

With the help of the library’s manager, they carefully gather an assortment of more than 35 books of poetry, politics, language and history, written in several Kurdish dialects and some in Arabic.

Pishtiwan holds up a book of old Kurdish folk stories named after 16th-century Kurdish princess Xanzad, before gently flipping through the fragile pages of another religious volume, tracing the calligraphy with his fingers.

Back in the van, equipped with two devices connected to a screen, the small team starts the hourslong scanning process before returning the books to the library.

In the absence of an online archive, the Kurdistan Center for Arts and Culture, a nonprofit founded by the nephew of regional President Nechirvan Barzani, launched the digitization project in July.

They hope to make the texts available to the public for free on the KCAC’s new website in April.

More than 950 items have been archived so far, including a collection of manuscripts from the Kurdish Baban principality in today’s Sulaimaniyah region that dates back to the 1800s.

“The aim is to provide primary sources for Kurdish readers and researchers,” KCAC executive director Mohammed Fatih said. “This archive will be the property of all Kurds to use and to help advance our understanding of ourselves.”

Dohuk library manager Masoud Khalid gave the KCAC team access to the manuscripts and documents gathering dust on its shelves, but the team was unable to secure permission from the owners of some of the documents to digitize them immediately.

“We have books that were printed a long time ago — their owners or writers passed away — and publishing houses will not reprint them,” Khalid said.

Digitizing the collection means that “if we want to open an electronic library, our books will be ready,” the 55-year-old added.

Hana Kaki Hirane, imam at a mosque in the town of Hiran, unveiled a treasure to the KCAC team — several generations-old manuscripts from a religious school established in the 1700s.

Since its founding, the school has collected manuscripts, but many were destroyed during the first war pitting the Kurds against the Iraqi state between 1961 and 1970, said Hirane.

“Only 20 manuscripts remain today,” including centuries-old poems, said the imam.

He is now waiting for the KCAC website launch in April to refer people to view the manuscripts.

“It is time to take them out and make them available for everyone,” he said.
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Los Angeles — As Universal Pictures prepared for a big night at the Academy Awards with “Oppenheimer,” the studio also celebrated the No. 1 debut of “Kung Fu Panda 4,” which collected $58.3 million in domestic theaters over the weekend, according to estimates Sunday.

“Kung Fu Panda 4,” the first film in the DreamWorks Animation franchise since the third installment in 2016, got off to a better start than all but the 2008 original. That “Kung Fu Panda,” which began the mystical adventures of Jack Black’s panda warrior Po, launched with $60.2 million.

Working in favor of “Kung Fu Panda 4”: It’s the first big family movie since “Migration” and “Wonka” hit theaters in December. “Kung Fu Panda 4” added $22 million internationally.

The news was just as good for last week’s top film, “Dune: Part Two.” Denis Villeneuve’s sci-fi epic sequel held strongly in its second week, dropping a modest 44%. It grossed $46 million in its second week, bringing its domestic cumulative total to $157 million for Warner Bros. and Legendary Pictures.

Riding strong reviews, great word-of-mouth and plenty of sandworms, “Dune: Part Two” appears well set up for a long theatrical run. Most of Sunday’s Oscar nominees have already moved on to home viewing platforms, but “Dune” could wind up at next year’s Academy Awards.

Opening in third place was the Lionsgate, Blumhouse horror release “Imaginary,” about a sinister teddy bear. It debuted with $10 million.

Following it was “Cabrini,” a portrait of the 19th century Catholic missionary Saint Frances Xavier Cabrini (played by Cristiana Dell’Anna). The film, released by the Christian-based company Angel Studios, the studio behind the 2023 surprise hit “Sound of Freedom,” collected $7.5 million.

A24 also debuted the critically acclaimed neo-noir “Love Lies Bleeding,” starring Kristen Stewart, on five screens in New York and Los Angeles. It grossed $167,463 for a good per-screen average of $33,493.

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

1. “Kung Fu Panda 4,” $58.3 million.

2. “Dune: Part Two,” $46 million.

3. “Imaginary,” $10 million.

4. “Cabrini,” $7.6 million.

5. “Bob Marley: One Love,” $4.1 million.

6. “Ordinary Angels,” $2 million.

7. “Madame Web,” $1.1 million.

8. “Migration,” $1.1 million.

9. “YOLO,” $840,000

10. MET Opera: “La Forza del Destino,” $768,000.
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Los Angeles — Hollywood’s glitterati gather on Sunday to celebrate the best performances in film at the annual Academy Awards, a ceremony expected to turn into a toast to blockbuster atomic bomb drama “Oppenheimer.”

Talk show host Jimmy Kimmel returns for the fourth time to emcee the film industry’s highest honors from the Dolby Theatre in Los Angeles.

“Oppenheimer,” the three-hour drama directed by Christopher Nolan, leads the field with 13 nominations. The movie is the frontrunner to win the prestigious best picture prize, capping its sweep of other major awards this year.

“If the best picture isn’t ‘Oppenheimer,’ it will be one of the biggest upsets, if not the biggest upset, in the history of the Oscars,” said Scott Feinberg, executive editor for awards at The Hollywood Reporter.

After 2023 was marred by actors and writers strikes, the Oscars give Hollywood a chance to celebrate two global hits. “Oppenheimer” and feminist doll adventure “Barbie,” another best picture nominee, brought in a combined $2.4 billion in a summer box office battle dubbed “Barbenheimer.”

Oscar producers said they have planned unannounced cameos and other surprises to entertain audiences at home.

“My biggest hope is that they go through a range of emotions with us, that they feel happiness and joy, that we maybe make them shed a tear,” Executive Producer Raj Kapoor said. “And then they somehow feel connected and inspired to also live their dreams.”

Supporting actor nominee Ryan Gosling will sing the ’80s-style rock anthem “I’m Just Ken” from “Barbie.” Members of the Osage Nation will perform the nominated “Wahzhazhe (A Song for My People)” from “Killers of the Flower Moon.”

Cillian Murphy, the Irish actor who played physicist J. Robert Oppenheimer as he led the race to build the first atomic bomb, is considered the favorite for best actor. Murphy’s main competition, according to awards pundits, is “The Holdovers” star Paul Giamatti.

Best actress may go to Lily Gladstone of “Killers of the Flower Moon,” the real-life story about a murder plot to take over lucrative Osage oil rights in 1920s Oklahoma. If she prevails, Gladstone would be the first Native American actress to win an acting Oscar.

Gladstone’s rivals include previous Oscar winner Emma Stone, nominated this year for playing a woman revived from the dead in the dark and wacky comedy “Poor Things.”

The supporting actor race features “Oppenheimer” star Robert Downey Jr., who played the scientist’s professional nemesis, and Sterling K. Brown from “American Fiction.”

Da’Vine Joy Randolph, praised for her role as a grieving mother in “The Holdovers,” vies for best supporting actress against Danielle Brooks from “The Color Purple” and others.

“Barbie,” last year’s No. 1 film with $1.4 billion in global ticket sales, may be shut out of the top awards. Billie Eilish’s “Barbie” ballad “What Was I Made For?” is likely to win the original song prize, Feinberg said, and could snag the awards for costumes and production design.

For Nolan, the night could bring his first directing Oscar, as well as the award for adapted screenplay. The director of “The Dark Knight” trilogy, “Inception” and other acclaimed films has never had a movie win best picture.

The ceremony may end with “the industry-wide coronation for Christopher Nolan,” Feinberg said. With “Oppenheimer,” “he has he has made his best possible argument yet for why he is worthy of this recognition.”
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New York — Six years ago, Nachiket Chanchani visited Angkor Wat for the first time. Inspired, the architectural historian began thinking about the relationship between the complexities of modern post-genocide Cambodia and the ancient temple complex.

Chanchani, an associate art history professor at the University of Michigan, kept reflecting on Angkor Wat, juxtaposing the temple complex against art created since the Khmer Rouge killed nearly 2 million Cambodians between 1975 and 1979.

During the pandemic, his thoughts crystallized amid worldwide suffering, anxiety and fear. “I thought that this art, both from the deep past and from more recent times in Cambodia, can teach us lessons of how to kind of stay stable, find some way forward,” he told VOA Khmer Service via Zoom.

The University of Michigan Museum of Art, or UMMA, one of the largest university museums in the United States, is now exhibiting 80 pieces of Cambodian art in a show guest curated by Chanchani in Ann Arbor. Titled “Angkor Complex: Cultural Heritage and Post-Genocide Memory in Cambodia,” it opened February 3 and runs through July 28. Featured artists Vann Nath, Sopheap Pich, Svay Sareth, Amy Lee Sanford and Leang Seckon, who live in Cambodia and the U.S., have pieces in the exhibit.

The Angkor Archaeological Park, a UNESCO World Heritage site, covers more than 400 square kilometers (155 square miles). Once a city of nearly a million people, the site contains some of Cambodia’s most famous structures, including those recognized worldwide after being seen in movies such as “Lara Croft: Tomb Raider and In the Mood for Love.”

Playing with the dictionary meanings of “complex” such as “a whole made up of complicated or interrelated parts,” “a building or group of buildings housing related units” or “a group of repressed desires and memories that exerts a dominating influence upon the personality,” Chanchani saw how the exhibit could “allow us to think about these different layers, these different kinds of ideas of complexness.”

Today, “Cambodians regard Angkor Wat as a sacred center, a national symbol, and a site of memory,” according to the exhibition guide.

“Like Angkor Wat’s bullet-ridden walls, contemporary artworks from Cambodia and its diaspora bear the scars of a genocide and of related upheavals,” said Chanchani, adding that as a non-Cambodian outsider, he was aware of the exhibition’s sensitive nature. “It’s not as if this is something that happened a thousand years ago that you can just say, it happened,” he said. “The survivors are still there.”

Chanchani hoped bringing Cambodian art to the U.S. would console viewers.

But what could the U.S., one of the biggest economic and military powers learn from Cambodia, a small southeast Asian country, other than how to move on from painful memories and what the exhibition catalog describes as the current interwoven global crises of “public health, economic instability, authoritarian regimes, racial injustice and climate change?”

And how does one nation heal from an event like the Khmer Rouge killing nearly a quarter of the population in its quest to create an agrarian utopia for worker-peasants?

For some Cambodians, it can seem as if, 40 years later, the nation can barely move on or show off a new face when it is still being referred to in the context of the past suffering, especially on the international stage.

Reaksmey Yean, a Cambodian art writer, curator and researcher in Phnom Penh, applauded the Michigan show, but added it is a “cliche” because Angkor Wat and the Khmer Rouge have been overused to identify Cambodia.

“An exhibition about Cambodia, its history and culture is rare in the U.S., so I think it is important to have the exhibition to put Cambodia on the map,” Reaksmey Yean told VOA Khmer Service. “However, it is a cliche for me because it’s been more than 20 years when our civil war completely ended and there are so much in our cultures that can be shown.”

Museum Director Christina Olsen said the audience will have a chance to learn about the “distinct cultural and political [significance] of Cambodia” through the historical and contemporary arts by Cambodian and diasporic artists.

“At the same time, the exhibition invites consideration of today’s broader cultural, social and political happenings and fosters dialogue about the lessons that can be taken from the pain and resilience of the Cambodian people,” she added in the press release.

Svay Sareth is a Cambodian artist whose works in sculpture, installation and durational performance “are made using materials and processes intentionally associated with war — metals, uniforms, camouflage and actions requiring great endurance,” according to the Richard Koh Gallery in Singapore. Sareth’s interest in how Cambodia was affected by war and how its people are moving on has informed his art.

“I want the audience in the U.S. [to] see how the post genocide in Cambodia affect the intergeneration,” Sareth said.

Another work, “Full Circle,” by Khmer American artist Amy Lee Sanford, is comprised of 40 broken clay pots, repaired and installed in a circle. She is known for her “Break Pot” performance pieces where she would drop the clay pot from a height, then glue all the pieces back together, an effort to show how situations can change in seconds and even when repaired, can never be the same again.

Sanford said she hopes the Michigan exhibition will show that Cambodians “have a memory of some of the important architectural and religious structures … and that also that there are contemporary artists now doing things related to history and related to looking forward as well.”
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MUMBAI, India — Krystyna Pyszková of the Czech Republic was crowned Miss World at a glittering contest held in India on Saturday night.

Yasmina Zaytoun of Lebanon was the first runner-up among 112 contestants in the competition held in Mumbai, India’s financial and entertainment capital.

“Being crowned Miss World is a dream come true. I am deeply honored to represent my country and the values of ‘beauty with a purpose’ on a global platform,” Pyszkova said.

After the reigning Miss World, Karoline Bielawska of Poland, passed the crown to her, Pyszková waved to the large crowd at the Jio World Convention Center and hugged some of the other contestants.

The event showcased the rich tapestry of India’s culture, traditions, heritage, arts and crafts, and textiles to a massive global audience. The participants wore heavily embroidered skirts and blouses and danced to popular Bollywood songs.

The beauty competition returned to India for the first time in 28 years.

India’s Sini Shetty exited after making it to the final eight. Six Indian women have won the title, including Reita Faria (1966), Aishwarya Rai (1994), Diana Hayden (1997), Yukta Mookhey (1999), Priyanka Chopra (2000) and Manushi Chillar (2017).

The 71st Miss World beauty pageant was hosted by Bollywood filmmaker Karan Johar and Miss World 2013 Megan Young from the Philippines.
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