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San Francisco — Netflix added 13 million subscribers in the final three months of last year, the company said on Tuesday, despite price hikes at the leading streaming service.

Netflix finished 2023 with slightly more than 260 million subscribers worldwide, with a profit of $938 million in the final quarter versus just $55 million in the same period a year earlier.

“We believe there is plenty of room for growth ahead as streaming expands,” the U.S. company said in an earnings letter.

Netflix shares were up more than 8% to $532.75 in after-market trades that followed the release of the earnings figures.

“Netflix sticks out as the clear front-runner in the streaming wars,” said Insider Intelligence principal analyst Ross Benes.

The streaming pioneer said that despite last year’s strikes by Hollywood actors and writers, the company has a “big, bold” slate of content for release this year.

The company touted coming content including a sequel to the hit Squid Game series out of South Korea and a brand new “3 Body Problem” show based on a bestselling novel by the same name.

“Choice and control are the price of entry in modern entertainment, and that is streaming,” Netflix said in the letter. “It’s what consumers want, and we believe it’s the best way for our industry to stay relevant and growing.”

The earnings news came the same day that Netflix sealed a long-term broadcast deal with the WWE professional wrestling juggernaut, as it pushes further into sporting events.

Beginning in the United States in 2025, Netflix will become the exclusive new home of “Raw,” the WWE’s flagship program that has been broadcasting on television since 1993.

The agreement will also see WWE shows and live events streamed across the globe as their rights become available.

With an initial 10-year term for $5 billion, the deal has an option for Netflix to extend the deal for an additional 10 years or opt out after the first five years.

“We expect our industry to remain highly competitive,” Netflix said, citing heavy investment by rivals including Amazon, Apple and YouTube. “It’s why continuing to improve our entertainment offering is so important.”

Netflix late last year increased the price of its basic plan in the United States to $11.99 monthly and its premium plan to $22.99, with similar price increases seen in Britain and France.

After a period of rocky earnings, earlier in 2022, the Silicon Valley giant expanded its crackdown on users sharing passwords with people beyond their immediate family.

In a separate bid for revenue, Netflix launched an ad-subsidized offering around the same time as the crackdown.

The ad-supported tier is priced at $7 monthly and is growing fast but has yet to become a main driver of overall revenue, according to Netflix.

As the ad-tiers gain momentum, the company said on Tuesday that it would retire the lowest cost ad-free plan, starting with Canada and the UK in the second quarter of this year.

The company said earlier this month it has 23 million subscribers using the ad-supported tier, which accounts for 40% of new sign-ups.

Netflix Co-Chief Executive Greg Peters said during an earnings call that the company is continuing to expand its lineup of more than 80 mobile games that subscribers can play, having recently added the blockbuster “Grand Theft Auto.”

“We’re stoked by the performance of GTA,” said Peters, noting that the Netflix mobile game exceeded even the company’s high hopes for it.
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NEW YORK — Charles Osgood, a five-time Emmy Award-winning journalist who anchored “CBS Sunday Morning” for more than two decades, hosted the long-running radio program “The Osgood File” and was referred to as CBS News’ poet-in-residence, has died. He was 91. 

CBS reported that Osgood died Tuesday at his home in Saddle River, New Jersey, and that the cause was dementia, according to his family. 

Osgood was an erudite, warm broadcaster with a flair for music who could write essays and light verse as well as report hard news. He worked in radio and television with equal facility and signed off by telling listeners: “I’ll see you on the radio.” 

“To say there’s no one like Charles Osgood is an understatement,” Rand Morrison, executive producer of “Sunday Morning,” said in a statement. “He embodied the heart and soul of ‘Sunday Morning.’ … At the piano, Charlie put our lives to music. Truly, he was one of a kind — in every sense.” 

“CBS News Sunday Morning” will honor Osgood with a special broadcast on Sunday. 

Osgood took over “Sunday Morning” after the beloved Charles Kuralt retired in 1994. Osgood seemingly had an impossible act to follow, but with his folksy erudition and his slightly bookish, bow-tied style, he immediately clicked with viewers, who continued to embrace the program as an unhurried TV magazine. 

Osgood, who graduated from Fordham University in 1954, started as a classical music disk jockey in Washington, served in the Army and returned to help start WHCT in Hartford, Connecticut. In 1963, he got an on-air position at ABC Radio in New York. 

In 1967, he took a job as reporter on the CBS-owned New York news radio station NewsRadio 88. Then, one fateful weekend, he was summoned to fill in at the anchor desk for the TV network’s Saturday newscast. In 1971, he joined the CBS network and launched what would be known as “The Osgood File.” 

In 1990, he was inducted into the radio division of the National Association of Broadcaster’s Hall of Fame. In 2008, he was awarded the National Association of Broadcasters Distinguished Service Award. He won four Emmy Awards and earned a fifth lifetime achievement honor in 2017. 

Jane Pauley succeeded Osgood as host of “Sunday Morning,” becoming only the third host of the program. 

When he retired in 2016 after 45 years of journalism, Osgood did so in a very Osgood fashion. 

“For years now, people — even friends and family — have been asking me why I continue doing this, considering my age,” the then-83-year-old Osgood said in brief concluding remarks. “It’s just that it’s been such a joy doing it! It’s been a great run, but after nearly 50 years at CBS … the time has come.” 

And then he sang a few wistful bars from a favorite folk song: “So long, it’s been good to know you. I’ve got to be drifting along.” 
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Nairobi, Kenya — Being the preferred choice of footwear for many, flip-flops – typically made of plastic or rubber – break easily and often aren’t disposed of properly. Therefore, millions of them end up in oceans, waterways, dumpsites, and landfills all over the world. 

Ocean Sole, a Kenya-based company, has found creative and functional ways to reuse the hundreds of thousands of discarded flip-flops that arrive regularly at their warehouse located in Karen, about 45 minutes from Nairobi’s city center.

Joe Mwakiremba has been working for the company for about 10 years. He says the company was “founded on the premise of cleaning our ocean and waterways [while] at the same time employing lots of artists from high-impact communities in Kenya.” 

He told VOA that flip-flops are generally collected from weekly beach cleanups and other places.  

At Ocean Sole, they usually weigh the material and pay collectors about 18 cents per kilogram. Then, to prepare them for carving, they are first hand-washed, one flip-flop at a time.

“The next stage for our smaller and medium-size sculptures, we have a die cut machine that would punch out a template of a giraffe, a lion or a rhino. Those templates are joined together with glue and carved out into that respective animal,” he notes. 

For life-size pieces, the company reuses an additional material. 

“The big piece like this couch I am sitting on, the inside of it is polystyrene. Polystyrene comes from shipping companies; they use it as insulation. When it’s worn out, they toss it away, so we carve out our big-size sculpture like the giraffe behind me using that material and pad it using the flip flops around it,” he expressed.

Using a machine, the pieces are then sanded before being cleaned again and readied for shipment. 

In 2023, the company said it recycled 750,000 flip-flops. This year it aims to recycle one million. 

Florence Auma is an artist who has been working for the company for 14 years. Auma told VOA she had to learn the art of carving from scratch. 

“I came into this company, washing flip-flops. I started with washing, then I started with blocking, then I am the first female carver in this company. Now, I am happy because I have many skills in this company,” she says.

Skills, she says, that have allowed her to be able to carve just about anything — like coasters — and to travel the world to showcase her talent. 

Mwakiremba told us one of the largest pieces the company made was a life-size car for a Honda dealership in the United States. They spent three months on the project, using 2,500 flip flops.

Ocean Sole is now collaborating with a design artist from Uganda who now lives in Finland and founded a studio there, in one of their biggest projects to date.

It’s a project they had planned to work on together in 2019 but had to pause due to the COVID-19 pandemic.

Lincoln Kayiwa – who has used material such as ceramic, granite, wood, and glass — has decided to try something new with flip flops. 

He recently traveled to Kenya to finalize a furniture project to be launched in April during Milan Design Week — Salone del Mobile — in Italy. 

To cook up this kind of project, Kayima told us he wanted to combine different elements, including a unique design concept with a meaningful product combined with his Ugandan and Finnish cultures — and that of Kenyans at Ocean Sole.

“The project itself has 14 pieces; you are just seeing three of them … of course it’s a win-win situation; the more flip-flops are used, that means the more flip-flops are being taken out of the environment. For me that’s the meaning of sustainability,” the Alvar Aalto University graduate said.
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NEW YORK — After a tumultuous movie year marred by strikes and work stoppages, the Academy Awards showered nominations Tuesday on Christopher Nolan’s blockbuster biopic, “Oppenheimer,” which came away with a leading 13 nominations.

Nolan’s three-hour opus, viewed as the best picture frontrunner, received nods for best picture; Nolan’s direction; acting nominations for Cillian Murphy, Robert Downey Jr. and Emily Blunt; and multiple honors for the craft of the J. Robert Oppenheimer drama.

But the year’s biggest hit, “Barbie,” came away with a nominations haul notably less than its partner in Barbenheimer mania. Greta Gerwig’s feminist comedy, with more than $1.4 billion in ticket sales, was nominated for eight awards, including best picture; Ryan Gosling for best supporting actor; and two best-song candidates in “What Was I Made For” and “I’m Just Ken.”

But Gerwig was surprisingly left out of the best director field. Gerwig was nominated for best director in 2018 for her solo directorial debut, “Lady Bird.” At the time, she was just the fifth woman nominated for the award. Since then, Chloé Zhao (“Nomadland”) and Jane Campion (“The Power of the Dog”) have won best director. Before those wins, Kathryn Bigelow (“The Hurt Locker,” in 2010) was the only woman to win the Oscar’s top filmmaking honor.

Both Martin Scorsese’s Osage epic “Killers of the Flower Moon” and Yorgos Lanthimos’ Frankenstein riff “Poor Things” were also widely celebrated. “Poor Things” landed 11 nods, while “Killers of the Moon” was nominated for 10 Oscars.

Lily Gladstone, star of “Killers of the Flower Moon,” became the first Native American nominated for best actress. For the 10th time, Scorsese was nominated for best director. Leonardo DiCaprio, though, was left out of best actor.

The 10 films nominated for best picture were: “Oppenheimer,” “Barbie,” “Poor Things,” “Killers of the Flower Moon,” “The Holdovers,” “Maestro,” “American Fiction,” “Past Lives,” “Anatomy of a Fall” and “The Zone of Interest.”

Lead nominees “Oppenheimer,” “Barbie,” “Poor Things” and “Killers of the Flower Moon” made for a maximalist quartet of Oscar heavyweights. Nolan’s sprawling biopic. Gerwig’s near-musical. Scorsese’s pitch-black Western. Lanthimos’ sumptuously designed fantasy. Each utilized a wide spectrum of cinematic tools to tell big, often disturbing big-screen stories. And each — even Apple’s biggest-budgeted movie yet, “Killers of the Flower Moon” — had robust theatrical releases that saved streaming for months later.

The Associated Press notched its first Oscar nomination in the news organization’s 178-year history with “20 Days in Mariupol,” Mstyslav Chernov’s harrowing chronicle of the besieged Ukrainian city and of the last international journalists left there after the Russia invasion. It was nominated for best documentary, along with “Four Daughters,” “Bobi Wine: The People’s President,” “The Eternal Memory” and “To Kill a Tiger.”

“20 Days” is a joint production between The Associated Press and PBS’ “Frontline.”

The nominees for best international film are: “Society of the Snow,” (Spain); “The Zone of Interest,” (United Kingdom); “The Teachers’ Lounge” (Germany); “Io Capitano” (Italy) ; “Perfect Days” (Japan).

The nominees for best animated film are: “The Boy and the Heron”; “Elemental”; “Nimona”; “Robot Dreams”; “Spider-Man: Across the Spider-Verse.”

Oscar season has reunited “Oppenheimer” with its summer box-office partner, “Barbie.”

Historically, blockbusters have helped fueled Oscar ratings. Though the pile-up of award shows (an after-effect of last year’s strikes ) could be detrimental to the Academy Awards, the Barbenheimer presence could help lift the March 10 telecast on ABC. Jimmy Kimmel is returning as host, with the ceremony moved up an hour, to 7 p.m. Eastern.
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Being the preferred choice of footwear for many, flip-flops — typically made of plastic or rubber — break easily and don’t get disposed of properly. Millions of them, therefore, end up in oceans, waterways, dumpsites and landfills all over the world. A Kenya-based company has found creative and functional ways to reuse them. VOA Nairobi Bureau Chief Mariama Diallo visited their warehouse located in Karen, about 45 minutes from the city center, and has this report. Camera: Amos Wangua
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NEW YORK — Norman Jewison, the acclaimed and versatile Canadian-born director whose Hollywood films ranged from Doris Day comedies and “Moonstruck” to social dramas such as the Oscar-winning “In the Heat of the Night,” has died at age 97. 

Jewison, a three-time Oscar nominee who in 1999 received an Academy Award for lifetime achievement, died “peacefully” Saturday, according to publicist Jeff Sanderson. Additional details were not immediately available. 

Throughout his long career, Jewison combined light entertainment with topical films that appealed to him on a deeply personal level. As Jewison was ending his military service in the Canadian navy during World War II, he hitchhiked through the American South and had a close-up view of Jim Crow segregation. In his autobiography “This Terrible Business Has Been Good to Me,” he noted that racism and injustice became his most common themes. 

“Every time a film deals with racism, many Americans feel uncomfortable,” he wrote. “Yet it has to be confronted. We have to deal with prejudice and injustice or we will never understand what is good and evil, right and wrong; we need to feel how ‘the other’ feels.” 

He drew upon his experiences for 1967’s “In the Heat of the Night,” starring Rod Steiger as a white racist small-town sheriff and Sidney Poitier as a Black detective from Philadelphia trying to help solve a murder and eventually forming a working relationship with the hostile local lawman. 

James Baldwin condemned the film’s “appalling distance from reality,” and thought the director trapped in a fantasy of racial harmony that would only heighten “Black rage and despair.” But The New York Times’ Bosley Crowther was among the critics who found the movie powerful and inspiring and, in a year, featuring such landmarks as “The Graduate” and “Bonnie and Clyde,” Jewison’s production won the Academy Award for best picture while Steiger took home the best actor Oscar. (Jewison lost out for best director to Mike Nichols of “The Graduate”). 

Among those who encouraged Jewison while making “In the Heat of the Night”: Robert F. Kennedy, whom the director met during a ski trip in Sun Valley, Idaho. 

“I told him I made films and he asked what kind I make,” he recalled in a 2011 interview with The Hollywood Reporter. “So I told him that I was working on ‘In the Heat of the Night’ and that it’s about two cops: one a white sheriff from Mississippi and the other a black detective from Philadelphia. I told him it was a film about tolerance. So he listened and nodded and said ‘You know, Norman, timing is everything. In politics, in art, in life itself.’ I never forgot that.” 

He received two other Oscar nominations, for “Fiddler on the Roof” and “Moonstruck,” the beloved romantic comedy for which Cher won an Academy Award for best actress. He also worked on such notable films as the Cold War spoof “The Russians Are Coming, The Russians Are Coming,” the Steve McQueen thriller “The Thomas Crown Affair” and a pair of movies featuring Denzel Washington: the racial drama “A Soldier’s Story” and “The Hurricane,” starring Washington as wrongly imprisoned boxer Rubin “Hurricane” Carter. 

A third project with Washington never made it to production. In the early 1990s, Jewison was set to direct a biography of Malcolm X, but backed out amid protests from Spike Lee and others that a white director shouldn’t make the film. Lee ended up directing. 

Five Jewison films received best Oscar nominations: “In the Heat of the Night,” “The Russians Are Coming, The Russians Are Coming,” “Fiddler on the Roof,” “Moonstruck” and “A Soldier’s Story.” 

Jewison and his wife Margaret Ann Dixon (nicknamed Dixie) had three children, sons Kevin and Michael and daughter Jennifer Ann, who became an actress and appeared in the Jewison films “Agnes of God” and “Best Friends.” The Jewisons were married 51 years, until her death in 2004. He married Lynne St. David in 2010. 

Jewison, honored by Canada in 2003 with a Governor General’s Performing Arts Award, remained close to his home country. When he wasn’t working, he lived on a 200-acre farm near Toronto, where he raised horses and cattle and produced maple syrup. He founded the Canadian Film Centre in 1988 and for years hosted barbecues during the Toronto Film Festival. 

The Toronto-born Jewison began acting at age 6, appearing before Masonic lodge gatherings. After graduating from Victoria College, he went to work for the BBC in London, then returned to Canada and directed programs for the CBC. His work there brought offers from Hollywood, and he quickly earned a reputation as a director of TV musicals, with stars including Judy Garland, Danny Kaye and Harry Belafonte. Jewison shifted to feature films in 1963 with the comedy “40 Pounds of Trouble,” starring Tony Curtis and Suzanne Pleshette. 

The director’s light touch prompted Universal to assign him to a series of comedies, including “The Thrill of It All,” which paired Day with James Garner, and “Send Me No Flowers,” starring Day and Rock Hudson. Wearying of such scripts, Jewison used a loophole in his contract to move to MGM for 1965’s “The Cincinnati Kid,” a drama of the gambling world starring McQueen and Edward G. Robinson. He followed with “The Russians Are Coming, The Russians Are Coming,” which starred Carl Reiner and Eva Marie Saint and was the breakthrough film for Alan Arkin. 

His other films included “F.I.S.T.”, a flop with Sylvester Stallone as a Jimmy Hoffa-style labor leader; “… And Justice for All” (1979), with Al Pacino fighting a crooked judicial system; and “In Country,” featuring Bruce Willis as a Vietnam War veteran. His most recent work, the 2003 thriller “The Statement,” starred Michael Caine and Tilda Swinton and flopped at the box office. 

“I never really became as much a part of the establishment as I wanted to be,” he told The Hollywood Reporter in 2011. “I wanted to be accepted. I wanted people to say ‘that was a great picture.’ I mean I have a big ego like anyone else. I’m no shrinking violet. But I never felt totally accepted — but maybe that’s good.” 
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New York — On a quiet weekend in movie theaters, “Mean Girls” repeated atop the box office with $11.7 million in ticket sales, according to studio estimates Sunday, while a handful of awards contenders sought to make an impact ahead of Oscar nominations Tuesday.

With a dearth of new releases in cinemas, Paramount Pictures’ Tina Fey-scripted musical “Mean Girls” pushed its two-week total past $50 million, along with $16.2 million internationally. So far, it’s outpacing the tally for the 2004 original “Mean Girls.”

Only one new film debuted in wide release: “I.S.S.,” a modestly budgeted sci-fi thriller starring Ariana DeBose. The film, which speculates what would happen aboard the International Space Station if war broke out between the U.S. and Russia, debuted with $3 million on 2,518 screens for Bleecker Street.

Expectations weren’t high for “I.S.S.,” which drew only so-so reviews and was lightly marketed. Audiences also didn’t like it, giving the film a “C-” CinemaScore.

But even for January, historically a low ebb for moviegoing, it was a sparsely attended weekend, with paltry options on the big screen. The top 10 films collectively accounted for just $51.3 million in box office, according to Comscore.

With a similarly thin release schedule on deck for next weekend, it could be the start of a chastening trend for Hollywood in 2024. Due to production delays caused by last year’s strikes, there are significant holes throughout this year’s movie calendar.

The Jason Statham thriller “The Beekeeper,” from Amazon MGM Studios, remained in second place, grossing $8.5 million in its second weekend to bring its total to $31.1 million. Warner Bros. “Wonka,” six weeks into its smash run in theaters, was third, with $6.4 million in ticket sales. It’s taken in $187.2 million domestically.

Also continuing to leg out was Sony Pictures’ “Anyone But You.” The rom-com starring Sydney Sweeney and Glen Powell, crossed $100 million globally in its fifth week of release. It’s the highest grossing R-rated romantic comedy — a genre that has largely migrated to streaming platforms — since 2016’s “Bridget Jones’s Baby.” Domestically, it came in fourth with $5.4 million.

Much of the weekend’s action was in expanding awards contenders.

After a qualifying release in December, Ava DuVernay’s “Origin,” starring Aunjanue Ellis-Taylor as the “Caste” author Isabel Wilkerson, launched in 125 theaters and pulled in $875,000 — a strong start for the acclaimed film.

Yorgos Lanthimos’ dark fantasy “Poor Things,” starring Emma Stone, added 820 theaters and grossed $2 million from 1,400 locations. The Searchlight Pictures release, which won the Golden Globe for best comedy-musical, has earned $33.7 million globally in seven weeks of slowly expanding release.

Cord Jefferson’s “American Fiction,” starring Jeffrey Wright as a frustrated novelist, expanded to 850 screens and pulled in $1.8 million. “American Fiction,” up to $8 million in six weeks, will look for a boost in Tuesday’s Oscar nominations.

Jonathan Glazer’s Auschwitz film “The Zone of Interest” expanded to 82 screens, grossing $447,684 for A24.

But after a strong launch, another awards contender, “The Color Purple,” has quickly fallen off the radar of moviegoers. Though widely acclaimed and with the backing of producers Oprah Winfrey and Steven Spielberg, the Warner Bros. musical has dropped fast in recent weeks. In its fourth week of release, the Blitz Bazawule-directed film starring Fantasia Barrino, Taraji P. Henson and Danielle Brooks, grossed just $720,000. Its domestic total is $59.3 million, below hopes for the $100-million budgeted film.

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

1. “Mean Girls,” $11.7 million.

2. “The Beekeeper,” $8.5 million.

3. “Wonka,” $6.4 million.

4. “Anyone But You,” $5.4 million.

5. “Migration,” $5.3 million.

6. “Aquaman and the Lost Kingdom,” $3.7 million.

7. “I.S.S.,” $3 million.

8. “Night Swim,” $2.7 million.

9. “The Boys in the Boat,” $2.5 million.

10. “Poor Things,” $2 million.
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SEOUL, South Korea — Video footage released by an organization that works with North Korean defectors shows North Korean authorities publicly sentencing two teenagers to 12 years’ hard labor for watching K-pop.

The footage, which shows the two 16-year-olds in Pyongyang convicted of watching South Korean movies and music videos, was released by the South and North Development Institute, or SAND.

Reuters was unable to independently verify the footage, which was first reported by the BBC.

North Korea has for years imposed tough sentences on anyone caught enjoying South Korean entertainment or copying the way South Koreans speak in its war on outside influences. A sweeping new “anti-reactionary thought” law was imposed in 2020.

“Judging from the heavy punishment, it seems that this is to be shown to people across North Korea to warn them. If so, it appears this lifestyle of South Korean culture is prevalent in North Korean society,” said Choi Kyong-hui, president of SAND and doctor of political science at Tokyo University, who defected from North Korea in 2001.

“I think this video was edited around 2022. … What is troublesome for [North Korean leader] Kim Jong Un is that Millennials and Gen Z young people have changed their way of thinking. I think he’s working on turning it back to the North Korean way.”

The video, made by North Korean authorities, shows a large public trial in which the two students in grey scrubs are handcuffed while watched by about 1,000 students in an amphitheater. All the students, including the two 16-year-olds, are wearing face masks, suggesting the footage was shot during the COVID pandemic.

The students were sentenced, according to the video, after being convicted of watching and spreading South Korean movies, music and music videos over three months.

“They were seduced by foreign culture … and ended up ruining their lives,” the narrator states, as the video cut away to young girls being handcuffed and Pyongyang women wearing South Korean fashion and hairstyles.

Reclusive North Korea and the rich, democratic South are technically still at war after their 1950-53 conflict ended in a truce, not a peace treaty, and are divided by a heavily fortified demilitarized zone.
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Los Angeles — Fantasy musical “Wonka” bounced back to the top of the North American box office this New Year’s weekend as an otherwise pallid film year came to an end, industry watcher Exhibitor Relations reported Sunday.

The Warner Bros. film took in an estimated $24 million for the three-day weekend in the U.S. and Canada, and $31.8 million when New Year’s Day is included. It has passed the $140 million mark domestically and taken in $244 million globally.

That strong showing came at the end of an off year for Hollywood, with numbers roughly 20 percent below the three-year pre-pandemic average, said analyst David A. Gross. Audience tastes are starting to change, he said, from universe-saving action films to stories closer to home.

Close to home — at least if you live near a chocolate factory — was family-friendly “Wonka,” with Timothee Chalamet as a younger version of Roald Dahl’s famous chocolatier. Hugh Grant has an unforgettable turn as a grouchy, green-haired, gnome-like Oompa Loompa.

Last weekend’s leader, Warner Bros.’ “Aquaman and the Lost Kingdom,” took on a bit of water, slipping to second at $19.5 million for three days ($26.3 million for four). Jason Momoa again plays the sea-dwelling superhero, this time joining with his half-brother and former foe to fight turmoil and climate change.

In third was Illumination and Universal’s animated comedy “Migration” about the adventures of a family of mallard ducks as they fly from New England to Jamaica. It earned $17.2 million for three days ($23 million for four).

Completing a strong weekend for Warner Bros. was the new musical version of “The Color Purple,” in fourth spot at $13 million ($17.7 million). Based on the Alice Walker novel that became a beloved movie, “Purple” follows the struggles and triumphs of Celie, a young Black woman in rural Georgia in the early 20th century.

One-time “American Idol” winner Fantasia Barrino-Taylor plays Celie — a role played by Whoopi Goldberg in the 1985 film — with backing from Danielle Brooks, H.E.R. and Colman Domingo.

And in fifth was Sony rom-com “Anyone But You,” at $9 million ($11.5 million). Sydney Sweeney and Glen Powell star in the tale, oh-so-loosely based on Shakespeare’s “Much Ado About Nothing,” that takes the two from instant connection to crossed signals to the scheming of friends to a lot of splashing in Sydney Harbour before ultimately … but nay, the rest is silence.

Rounding out the top 10 were:

1. “Wonka,” $24 million.

2. “Aquaman and the Lost Kingdom,” $19.5 million.

3. “Migration,” $17.2 million.

4. “The Color Purple,” $13 million.

5. “Anyone But You,” $9 million.

6. “The Boys in the Boat,” $8.3 million.

7. “The Iron Claw,” $5 million.

8. “Ferrari,” $4.1 million.

9. “The Hunger Games: The Ballad of Songbirds and Snakes,” $2.9 million.

10. “The Boy and the Heron,” $2.5 million.
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london — Two-time Oscar-nominated actor Tom Wilkinson, who starred in “The Full Monty” — a movie about a group of unemployed steel workers who launched new careers as strippers — died suddenly on Saturday. 

The British actor’s death was confirmed in a statement released by his agent on behalf of his family. He was 75. 

“It is with great sadness that the family of Tom Wilkinson announce that he died suddenly at home on December 30. His wife and family were with him.” 

Wilkinson was nominated for Academy Awards for actor in a leading role for “In The Bedroom” in 2001, and for a supporting role in “Michael Clayton” in 2007. 

He most recently reunited with his “Full Monty” co-stars, Robert Carlyle and Mark Addy, in a Disney+ series of the same name. 

The original 1997 smash hit about an unlikely group of men stripping won an Oscar for best original musical or comedy score and was nominated for three others, including best picture and best director. 

Wilkinson played ex-foreman Gerald Cooper who was recruited to help the unemployed men dance. 

The actor also took home the best supporting actor Bafta for the role. 

Wilkinson won a 2009 Golden Globe and 2008 Emmy for his role as American political figure Benjamin Franklin in the HBO series “John Adams,” opposite Paul Giamatti. 

He was also known for his roles in a BBC adaptation of Charles Dickens novel “Martin Chuzzlewit,” the 1995 adaptation of Jane Austen’s “Sense and Sensibility,” the 2014 Wes Anderson comedy drama “The Grand Budapest Hotel” and 2011 ensemble comedy “The Best Exotic Marigold Hotel.” 
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Beirut, Lebanon — For decades, Tele Liban has been a mainstay of Lebanese living rooms. Now the country is seeking UNESCO recognition for the archives of its pioneering Arab broadcaster. 

Information Minister Ziad Makary told AFP that Beirut would apply to have the full archives of Tele Liban added to the United Nations cultural body’s Memory of the World Register, which UNESCO says “aims to prevent the irrevocable loss of documentary heritage.” 

Tele Liban was “the first television (network) to be established in the Arab world on a state level,” Makary said, adding that Lebanon had the region’s “oldest audiovisual archive.” 

The collection includes footage that dates back “to World War II and the 1940s,” although Tele Liban did air its first program until 1959, the minister said from his Beirut office. 

Were it to join the register, it would sit alongside hundreds of other entries, spanning print, audiovisual, digital and other heritage from across the globe. 

Archives documents culture, politics

The only television channel in Lebanon until 1985, the broadcaster’s archive is brimming with years of history, politics and culture not only from Lebanon but across the Arab world, during tumultuous decades in the region. 

It counts more than 50,000 hours of recordings, from interviews and news programs to music concerts, including of Egypt’s revered 20th century singer Umm Kalthoum and French diva Dalida. 

The collection captured Lebanon’s “cultural and political life” and was unique in the country, Alfred Akar, Tele Liban’s head of archives, told AFP. 

In Lebanon, there is nostalgia for the now cash-strapped Tele Liban’s “golden age” during the 1960s and ’70s, when it featured prominent personalities on its programs that ranged from entertainment and comedy to drama. 

As sectarian tensions peaked and the country plunged into the grueling 1975-1990 civil war, Tele Liban became a witness to the country’s divisions and suffering. 

Makary noted the need to preserve history, pointing to “the archive’s importance in the collective memory and (its) cultural impact on the region.” 

Putting heritage on map

If successful, its entry on the UNESCO register would have great symbolic importance and put Lebanon’s “media heritage on the world map,” Makary said. 

The aim is to include not only Tele Liban’s archive but also that of the public radio and the National News Agency, Makary said, adding that work on the official submission would begin next month. 

Lebanon has two other entries on the Memory of the World Register: commemorative stela spanning more than three millennia at a site north of Beirut, and the Phoenician alphabet, which the U.N. body’s website describes as “the prototype for all alphabets in the world.”  

In 2010, work began on modernizing the Tele Liban archive and transferring it to updated equipment despite little financial support, in a country where dysfunctional public services have now been swallowed by a crushing four-year economic crisis. 

The digitization process is ongoing. 

Zaven Kouyoumdjian, author of two books on television including “Lebanon on Screen,” said Tele Liban was part of a modernizing effort in the Arab world and also “brought all Lebanese together.” 

The broadcaster’s archive is “a national treasure,” said the author and television personality. 

It “stores Lebanon’s cultural identity,” he told AFP. 
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MILAN — The Italian city of Venice announced new limits Saturday on the size of tourist groups, the latest move to reduce the pressure of mass tourism on the famed canal city.

Starting in June, groups will be limited to 25 people, or roughly half the capacity of a tourist bus, and the use of loudspeakers, “which can generate confusion and disturbances,” will be banned, the city said in a statement.

The city official charged with security, Elisabetta Pesce, said the policies were aimed at improving the movement of groups through Venice’s historic center as well as the heavily visited islands of Murano, Burano and Torcello.

The city previously announced plans to test a new day-tripper fee this year. The 5 euros ($5.45) per-person fee will be applied on 29 peak days between April and mid-July, including most weekends. It is intended to regulate crowds, encourage longer visits and improve the quality of life for Venice residents.

The U.N. cultural agency cited tourism’s impact on the fragile lagoon city as a major factor in it twice considering placing Venice on UNESCO’s list of heritage sites in danger.

The city escaped the first time by limiting the arrival of large cruise ships through the Giudecca Canal and again in September when it announced the roll-out of the day-tripper charge, which had been delayed when tourism declined during the COVID-19 pandemic.
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PARIS — The Tour d’Argent already boasts a 320,000-bottle wine cellar, a world-famous duck recipe and a storied 441-year history. Now, the legendary Paris restaurant is about to serve up its “plat de résistance”: a front-row view of two of the biggest events of 2024 — the renaissance of Notre Dame Cathedral and the 2024 Summer Olympics.

A city landmark unto itself — and an inspiration for the restaurant in the movie Ratatouille — the Tour d’Argent recently reopened after its own renovation, which preserved revered traditions while adapting to the 21st century.

”It’s very reassuring for many customers to see that such establishments are still present in our history, and in French gastronomic history,” owner and CEO André Terrail told The Associated Press.

The restaurant claims to be the oldest in Paris, its 1582 opening date embossed on the doors. It says King Henri IV ate heron pâté here; ”Sun King” Louis XIV hosted a meal here involving an entire cow; and presidents, artists like Salvador Dalí, and celebrities including Marilyn Monroe have graced its tables in the generations since.

Today the Michelin-starred restaurant remains one of the most exclusive places to dine in the French capital, out of reach for most. The simplest fixed-price lunch menu runs to 150 euros ($167), and the most affordable fixed-price dinner is 360 euros – and that’s without even peeking at the 8-kilogram book dubbed the ”bible” of its wine cellar.

But the reborn Tour d’Argent offers options for those who want to breathe in its rarefied atmosphere without investing in a full meal: A ground-floor lounge serving croissants in the morning, an adjacent bar serving fireside cocktails in the evening, and a rooftop bar open in the warmer months, where the restaurant’s breathtaking views are on full display.

Notre Dame Cathedral takes center stage in this Paris panorama, a construction site like no other. Artisans are mounting a new spire and roof on the monument, replacing those that collapsed in a 2019 fire that threatened to destroy the entire medieval cathedral.

Piece by piece, the scaffolding that enshrouds the site will come down over the course of 2024, in time for its planned December 8 reopening to the public.

For its neighbors at the Tour d’Argent, the restoration of Notre Dame is welcome news.

“Notre Dame is a landmark and probably had lost a little bit of attention to the Eiffel Tower,” Terrail said. After the fire, Notre Dame enjoyed an injection of funding, notably from the U.S. ”Lots of love coming from abroad, making sure that the cathedral was renovated,” he said.

Terrail had been mulling a makeover for the Tour d’Argent too, and finally made it happen after an 18-month closure prompted by the COVID-19 pandemic.

“COVID in a sense accelerated things, and also the Olympic Games, which are kind of an accelerator for everything in Paris,” he says.

“We have a front-row seat on the opening ceremony of the Olympics. It’s a great privilege. It starts just there,” he says, pointing at the spot where the unprecedented opening-day extravaganza will unfold along the River Seine on July 26.

The restaurant reopened to generally positive reviews, after years in which it had been seen as resting on its laurels. Michelin says the cuisine and service were rejuvenated ”without taking away from its nature.”

The Tour d’Argent – which translates as ”Silver Tower” — has a redesigned dining room with an open kitchen, and a top-floor one-bedroom apartment that rents for nearly 9,000 euros a night.

Its signature dish remains pressed duck, cooked in its own blood and specially carved by servers in the air instead of on a board. Since 1890, the restaurant has been giving customers certificates with the number of each duck served. They’re now well past the 1 million mark.

The bustling kitchen staff use locally grown products and closely held recipes, like a seductive “mystery egg” starter in truffle sauce.

“You have to cook the egg white, but not the yolk,” explains executive chef Yannick Franques.

“People, when they come to eat, are quite surprised when they don’t know the mystery and often come to me asking how I manage to keep the yolk raw inside and the white part cooked. Unfortunately, I can’t say, I just can’t say,” he says, smiling.

”The secret’s the secret. Voilà.”
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RIO DE JANEIRO — Brazilians paid several tributes to soccer legend Pelé on Friday, one year after the three-time World Cup winner’s death at age 82 due to a colon cancer.

A ceremony held at Rio de Janeiro’s Christ the redeemer, one of the South American nation’s most famous postcard locations, featured a projection of a Brazil shirt with Pelé’s name and number 10 on the statue and a message from Pope Francis. Pelé was a devout Catholic throughout his life.

“Pelé, as Mr. Edson Arantes do Nascimento became globally known, was undoubtedly an athlete who showed in his life all positive traits of a sportsman. The memory of ‘the King of Soccer’ remains indelible in the minds of many, and it stimulates new generations to seek in sport a means to strengthen the bonds of unity among us,” the pontiff said in a letter as a local orchestra played.

Other religious ceremonies were held at the Museu Pelé in Santos, the port city he put on the map with his goals and success for Santos FC, and in the small city of Tres Corações, where do Nascimento was born in 1940.

Santos FC also held a tribute at its Vila Belmiro Stadium, where Edson Cholbi do Nascimento, one of Pelé’s sons, released 10 white ballons from the center circle. Pelé’s funeral was held at the stadium.

Soccer’s governing body FIFA also paid its respects with a video of highlights of the Brazilian great with a message: “Pelé’s legacy will always live on.”

Earlier this year, a Brazilian dictionary chose to pay a tribute to Pelé by adding his name as an adjective to use when describing someone who is “exceptional, incomparable, unique.”

The announcement by the Michaelis dictionary on Wednesday is part of a campaign that gathered more than 125,000 signatures to honor the late soccer great’s impact beyond his sport.

Pelé spent nearly two decades enchanting fans and dazzling opponents as the game’s most prolific scorer with Brazilian club Santos and the Brazil national team. In the conversation about soccer’s greatest, only the late Diego Maradona, Lionel Messi and Cristiano Ronaldo are mentioned alongside.
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COMANESTI, Romania — Centuries ago, people in what is now northeastern Romania donned bearskins and danced to fend off evil spirits. That custom is today known as the Dancing Bears Festival, drawing crowds of tourists every December.

Hundreds of people of all ages, clad in bear costumes, dance every year around Christmas to the deafening beat of drums and roam villages and towns. The highlight of this year’s festival falls on December 30, with bear-clad dancers descending on the town of Comanesti, in eastern Romania, for the finale.

Visitors come from as far as Japan to see the spectacle, featuring lines of people in costumes with gaping bear jaws and claws marching and dancing. Giant red pompom decorations are usually added to the furs. Some of the “bears” jokingly growl or pretend to attack the spectators.

Locals say the custom dates back to the pre-Christianity era when people believed that wild animals staved off misfortune or danger. Dancing “bears” visited people’s homes and knocked on their doors to wish them good luck and a Happy New Year.

“The bear runs through our veins, it is the spirit animal for those in our area,” said Costel Dascalu, who started taking part in the festival when he was 8. At the time, Romania was still under communist rule and the festival was relatively low-key.

“I want to keep the tradition alive,” the 46-year-old added. When the holiday season approaches, he joked, “our breath smells like bears, and we get goose bumps when we hear the sound of drums.”

Residents are happy that the tradition has lived on after many Romanians left the region in the 1990s to look for better jobs in Western Europe.

Brown bears are widely present in Romania’s traditions and culture, and the animals can often be seen by mountain roads and in forests. Excessive bear hunting prompted the authorities to issue a ban in 2016.

Participants in the festival say most of the bearskins they use as costumes have been preserved for generations and treated with great care.

Wearing a full-sized bear fur isn’t easy: Including the head and claws, the costume could weigh up to 50 kilograms. The most expensive bearskins can cost some 2,000 euros ($2,200), according to local media. 
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new orleans, louisiana — The sweet sensation of fried shrimp egg rolls dipped in duck sauce. Steam rising from dumplings stuffed with chicken, ginger and cabbage. Smells wafting from a plate of General Tso’s chicken on a bed of beef fried rice. 

These are just some of the dishes coming from the kitchen of Miss Shirley’s Chinese Restaurant on a packed Christmas Day in New Orleans, Louisiana. 

On a holiday when most restaurants are closed so customers and employees can celebrate with their families, many Chinese restaurants in America are gathering places for the country’s estimated 7.6 million Jews. 

“Outside of these walls, maybe people are relaxing with their families, but inside these walls, it’s a celebratory madhouse!” said Carling Lee, whose family owns Miss Shirley’s and has owned and operated Chinese restaurants in and around New Orleans for more than four decades. 

On Christmas and Christmas Eve, “we’re slammed from 11 a.m. until 9 p.m. with people ordering takeout or dining in with groups of five, 10, 15 or even more,” Lee continued. “It’s friends and family, and we’ve even sometimes gotten three rabbis in here at once! Everyone’s just looking for a way to enjoy the day off in their own special way.” 

The Chinese American Restaurant Association estimates there are more than 45,000 Chinese restaurants in the United States. For most that are open during the holidays, Christmas Day is the busiest of the year.  

And although most American Jews don’t know how this specific cuisine became so popular on Christmas, few doubt its ubiquity.  

“Whatever the reason, you can ask pretty much any American Jew what they did on Christmas and their answer will be some version of, ‘Ate Chinese food and went to the movies,'” said Sarah Wexler. “Even if they didn’t, they’ll still probably say it. It’s that ingrained in our culture!” 

The birth of a tradition 

Food writer Jennifer 8. Lee explored the question in her book “The Fortune Cookie Chronicles: Adventures in the World of Chinese Food.” 

“Between 1880 and 1924, you had an estimated 3 million Jews coming from Eastern Europe, and an amazing 75% of them resided in the Lower East Side neighborhood of Manhattan,” Lee told VOA. “It was a neighborhood that Chinese people already lived near and Chinese restaurants existed in, so you have these two massive immigrant groups living right beside each other.” 

Part of the Americanization process for those Jewish immigrants was going out to dinner. In the early 1900s, Lee said, Chinese restaurants were the place to go. 

“Chinese restaurants were being portrayed in paintings and movies in the 1920s and ’30s, and they were seen as sophisticated and cosmopolitan,” she told VOA. “So if you were trying to impress a girl, for example, you’d bring her to a neighborhood Chinese spot, and you would appear worldly.”  

Convenient, ‘easier to justify’

Rabbi Joshua Plaut is head of the Metropolitan Synagogue of New York and author of “A Kosher Christmas: ‘Tis the Season to be Jewish.” In addition to proximity and popularity, he says there are other reasons specific to Jewish immigrants that explain the popularity of Chinese food. 

“For one, Jews coming from Eastern Europe had fairly strict dietary restrictions and as they acclimated to eating out in America, many had to come to terms with leaving at least some of those restrictions behind,” Plaut said. 

“Chinese food felt a little easier to justify because it didn’t combine meat and dairy the way other common ethnic foods like Italian and Mexican do, and treif — which are non-kosher foods, like from pigs and shellfish — are more hidden in Chinese food,” he continued. “Those ingredients are chopped up or obscured in a dumpling so if you don’t see it, you can claim naivety. We call it ‘safe treif.'” 

Chinese restaurants were also open on Sundays. 

“Historically, a lot of businesses were closed on Sundays because of the Christian calendar,” Plaut told VOA, “but Jews were eager to enjoy the day. Chinese restaurants also had no reason to close, so Jewish families would go and enjoy dim sum. Similarly, when Jewish families were looking for someplace to eat on Christmas, Chinese restaurants were there for them again.” 

Hot food, warm welcome 

Another reason some Jews say they feel connected to Chinese eateries is because they lack much of the religious iconography present at other restaurants. 

“My family was always kind of uncomfortable around all the saints, crosses and crucifixions you find at Italian restaurants,” said Laurie Sklar, a music teacher in Mansfield, Massachusetts. “But Chinese restaurants have always felt so welcoming.” 

Sklar said she’s eaten Chinese food on Christmas Day for as long as she can remember, and that her parents did the same with their parents. 

“We were on a first-name basis with the owner of our local Chinese place,” she said. “He’d give us extra ice cream when we went. It felt like it was our special place, and to this day Chinese food feels as Jewish to me as matzo ball soup.” 

It’s a tradition that, after more than a century, continues to grow. 

“My 5-year-old son thinks Chinese food on Christmas is what we ‘do’ on Christmas, no different than fasting on Yom Kippur,” explained Joel Tietolman, who runs Mile End Delicatessen in New York City, which has been celebrating December 24 and 25 with a special Chinese menu for 13 years. “It’s truly become part of Jewish identity in North America.” 

Kung Pao on Christmas

Across the country in San Francisco, California, Lisa Geduldig has hosted the Kung Pao Kosher Comedy show during the Christmas holiday season since 1993. 

Thousands of guests attend the show over several nights at the Imperial Palace Restaurant, featuring a Chinese food banquet and Jewish comedians. 

“It’s a place for those who might feel ‘other’ during the Christmas season to gather together as a community and celebrate in a secular way,” Geduldig told VOA. “We’ve had Jewish guests who have been coming for decades, but we also have non-Jews who are looking for something fun to do and don’t want to be alone on Christmas.” 

That otherness is something both American Jews and Chinese Americans can relate to during the country’s biggest religious holiday. Hillary Saunders, an environmental scientist in Albany, California, admitted it was a familiar feeling for her as a child. 

“Growing up I felt very lonely on Christmas. I remember the constant Christmas music made me feel so isolated,” she said. “But knowing that Jews have this tradition, too, that you can go into a Chinese restaurant and find others doing the same thing — it’s comforting.” 

“For Jewish people, every holiday has a food associated with it,” Saunders said. “For me, Christmas tastes like Chinese food.” 
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BEIJING — Chinese lawmakers Friday weighed in on a fiery online debate on whether fireworks should be used to ring in the Lunar New Year in February, saying a total ban on pyrotechnics in the country credited with inventing them would be hard to implement. 

In an unusually frank response, lawmakers said air pollution prevention laws and fire safety regulations have led to “differences in understanding” of the ban on fireworks, which was never absolute. 

In 2017, official data showed 444 cities had banned fireworks. Since then, some cities have scaled back curbs, allowing fireworks at certain times of the year and at designated venues. 

This month, however, many counties rolled out notices prohibiting fireworks, rekindling discussion on the ban. 

“We’ve the right to fireworks,” wrote a user of Weibo, a popular Chinese social media platform. 

According to folklore, the earliest fireworks were invented 2,000 years ago to drive away the “Nian,” a mythical beast that preyed on people and livestock on the eve of the Lunar New Year, or Spring Festival. 

Since then, fireworks have been used to celebrate other occasions: This January, after three years of COVID-19 curbs were lifted, some people defied bans — and authorities — and set off firecrackers. 

But some Chinese said the firework bans were necessary to protect the environment. 

“It should be regulated due to pollution and safety [fire] hazards,” a Weibo user said. 

In an online poll by the official Beijing Youth Daily this week, however, over 80% of respondents expressed support for fireworks during the Spring Festival, the most important holiday on the Chinese calendar. 

Some also said the ban was ironic after the United Nations last week adopted the Spring Festival as an official holiday, a move cheered by Chinese officials. 

“The Spring Festival belongs to the world, but China’s is almost gone,” wrote another Weibo user. 

In southern Hunan province, a major fireworks manufacturing hub, exports totaled 4.11 billion yuan ($579 million) in January to November, state media reported, far exceeding domestic sales.
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Llay-Llay, Chile — Few players of the online video game Free Fire would know that one of their most ferocious opponents — a lithe, gun-wielding warrior in a short kimono and fang mask — is in reality an 81-year-old grandmother from rural Chile.

From her professional gaming chair at home in a small village, the soft-spoken Maria Elena Arevalo becomes a merciless hunter, mowing down rivals in a game in which tens of millions of players shoot it out to survive on an imaginary remote island.

Wearing an apron over a frilly skirt, Arevalo bears little resemblance to her online alter-ego “Mami Nena” — the nickname she got from her only grandson, Hector Carrasco, 20.

It was Carrasco who introduced Arevalo to the digital world of gaming that has given her a new lease on life after falling into deep loneliness following the death of her husband of 56 years in 2020.

“I didn’t even know what a mouse was,” she told AFP at her home in the town of Llay-Llay in central Chile.

“Afterwards, I got excited. We started to play whenever he [Carrasco] could. I felt better because I didn’t think so much about my late husband anymore.”

At first “I didn’t want to hurt anyone,” she added, but with time, she developed a taste for virtual blood.

Today, Arevalo plays at the “Heroic” level — just one short of the topmost “Grandmaster” level that only 300 players compete in.

She has 4 million followers on TikTok and 650,000 on YouTube, where she shares tips with fellow players.

Last year, she visited Mexico City on an all-expenses-paid trip as a Free Fire ambassador for the game’s anniversary celebrations — her first-ever journey abroad.

“All the kids asked me for autographs. … It was beautiful. The day I die, I’ll take that with me,” she reminisced.

Earlier this month, Arevalo was named one of Chile’s 100 most important elderly people by the El Mercurio newspaper and the Catholic University for helping break down age stereotypes.

Carrasco is in awe of his famous grandmother.

“It’s totally cool, and I don’t know, I feel like she’s like my best friend and all that,” he said.

‘I’ll keep going’

Three years after starting her Free Fire journey, Arevalo says she no longer feels lonely.

In a nod to her dead husband, a bird named “Benito” in his honor accompanies “Mami Nena” on her campaigns of conquest.

Almost half of people over 80 in Chile declare feeling lonely, according to a recent study, a major mental health risk.

Ever more older people are finding solace in gaming: a Ukrainian team known as “Young Guard” are prolific Counter Strike competitors, while 93-year-old Japanese Hamako Mori — also known by her alias Gamer Grandma — is thought to be the oldest gamer in the world.

For Arevalo, the online campaigns are becoming harder due to worsening scleroderma, a disease that causes a hardening and tightening of the skin.

But she is not planning on slowing down.

“I love doing this. I’ll keep going as far as I can,” she insisted.
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Los Angeles — Almost a century after his big-screen debut, Mickey Mouse enters the public domain Monday, opening the floodgates to potential remakes, spin-offs, adaptations … and legal battles with Disney.

The copyright on Steamboat Willie — a short, black-and-white 1928 animation that first introduced audiences to the mischievous rodent who would become emblematic of American pop culture — expires after 95 years, on January 1, under U.S. law.

The date has loomed large on the calendars of everyone from filmmakers, fans and intellectual property lawyers to Disney executives, who in the past helped lobby to change law to prolong US copyright terms.

“This is a deeply symbolic, highly anticipated moment,” said Jennifer Jenkins, director of the Duke Center for the Study of the Public Domain.  

Anyone is now free to copy, share, reuse and adapt Steamboat Willie and Plane Crazy — another 1928 Disney animation — and the early versions of the characters that appear within them, including Mickey and Minnie.

A vital caveat is that later versions of the characters, like those in 1940 film Fantasia, are not in the public domain, and cannot be copied without a visit from Disney’s lawyers.

But artists would be free, for instance, to create a “climate change awareness version” of Steamboat Willie in which Mickey’s ship runs aground on a dry riverbed, or a feminist retelling where Minnie takes the wheel, said Jenkins.

That would echo imaginative re-uses of other characters whose copyrights recently expired such as Sherlock Holmes and Winnie-the-Pooh.

‘Legal skirmishes’

But it will not be plain sailing.

In a statement to AFP, Disney said it would “continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright.”

Indeed, the version of Mickey in Steamboat Willie is a spindly, roguish creature who would not be recognizable to many younger viewers.

“What’s in the public domain is kind of a frightful little black-and-white animal,” said Justin Hughes, a professor at Loyola Law School.

He added: “The Mickey Mouse that is most familiar to current generations of Americans will remain under copyright protection.

“I wouldn’t be surprised if we see some legal skirmishes, and I wouldn’t be surprised if we see Disney out there educating people on that point.”

Cease-and-desist letters could be sent to artists producing “high-budget fan art” if they use elements from later Mickey cartoons, such as red shorts and white gloves, he predicted.

Additionally, while the copyright has expired, the trademark has not.

Copyrights prevent the unlicensed copying of the creative work itself, for example books, films and characters. They expire after a set time.

Trademarks guard the source of a work, preventing anyone else from making a product that could mislead consumers into thinking it came from the original author. They can be renewed indefinitely.

Disney said it will “work to safeguard against consumer confusion caused by unauthorized uses of Mickey and our other iconic characters.”

The company has even added a clip from Steamboat Willie to the opening sequence of every Walt Disney Animation Studios film.

“They were very smart folks at Disney — they realized that the best thing to do was to establish that iconic sequence of Steamboat Willie as a trademark,” said Hughes.

Anybody using the classic image of Mickey at the helm of the boat on shirts, caps or mugs could be open to legal action, he said.

‘Circumvent’

Other experts such as Jenkins remain more bullish about public domain freedoms.

“Our Supreme Court has made clear that you can’t use trademark rights to circumvent what copyright expiration allows,” she said.

Both sides agree that the law is likely to be tested in court soon.

Anyone hoping to cash in on Disney’s beloved mascot “should move cautiously and with counsel,” added Hughes.

In the short term, novelty and shocking adaptations, similar to recent high-profile slasher film Winnie-the-Pooh: Blood and Honey, are likely to grab the headlines.

But copyright law should ensure artists can use characters like Mickey to create enduring works, just as Shakespeare has been adapted to make modern classics from West Side Story (a retelling of Romeo and Juliet) to Rosencrantz and Guildenstern Are Dead, (Tom Stoppard’s exploration of the fates of two minor characters from Hamlet), said Jenkins.

“I’m interested to see what happens in 2024,” she said.

“But I’m even more interested to see what we’re still talking about and thinking about and teaching and writing about and sharing with our children in 2054.” 
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TAIPEI, TAIWAN — Chinese authorities approved 105 new online games this week, bolstering support for the industry just days after proposing regulatory restrictions that sent stocks tumbling.

The National Press and Publication Administration (NPPA) announced approval of the 105 games Monday via WeChat, describing the move as a show of support for “the prosperity and healthy development of the online game industry.

“It was only Friday that those same regulators announced a wide range of proposed guidelines to ban online game companies from offering incentives for daily logins or purchases. Other proposed rules include limiting how much users can recharge and issuing warnings for “irrational consumption behavior.”

The draft rules, which were published as part of efforts to seek public comment on the proposals, caused an immediate, massive blow to the world’s biggest games market, leading to as much as $80 billion in market value being erased from China’s two biggest companies, industry leader Tencent Holdings and NetEase.

After the approval was announced Monday, video game stocks in companies such as NetEase began recovering from Friday’s tumble. China’s state-run CCTV said the approval “strongly demonstrates the clear attitude of the competent authorities to actively support the development of online games,” adding that most game companies are deeply encouraged.

Chinese netizens, however, aren’t optimistic.

“Isn’t it the daily work of the NPPA to [approve games] on a regular basis? Don’t make it look like [you’re doing the industry a favor]” said a commenter named “OldTimeBlues” on YYSTV, a Chinese media platform for online gaming.

Another commenter, named Mizu, described the back-to-back announcements as a proverbial carrot and stick tactic.

“You noticed your kid is [has] a concussion after [you’ve hit] him with a stick,” they said of Friday’s announcement of new guidelines. “Now you are giving him a [treat] to make him feel better.”

Syu Jhen, founder of the policy think tank Hong Kong Zhi Ming Institute, said that the draft rules would affect not only the stock prices of Tencent and NetEase but the entire online gaming industry, even if China’s economy relies on domestic consumption.

Syu said that Beijing’s “one-size-fits-all” regulation of online gaming shows that China’s economic decision-makers do not respect market rules and often resort to moral kidnapping, allowing the social value that officials want to encourage to override principles of economic development and business operations.

A comment on YYSTV said, “Thinking issuing an approval would boost market confidence? It’s completely scratching the surface.”

Chen Chung-hsing, director of the New Economy Policy Research Center at National Dong Hwa University, said that at a time when China’s economy is weak and sluggish, exports and investment can no longer boost China’s economy. China can only rely heavily on domestic consumption. He said if China continues to suppress the domestic online gaming industry, it may have economic consequences and cause public resentment.

“China’s current unemployment rate is so high that some people may need video games to kill time,” he told VOA in a phone interview. In this case, [the rules] are also [a kind of] deprivation. Then, after these people stop playing video games, what will happen? Don’t they think about other ways to express their dissatisfaction? So basically, [playing video games] is also a possible source of power for [social] stability.”

Tseng Wei-feng, an assistant researcher at the Institute of International Relations at National Chengchi University, said the reason why the Chinese government wants to restrict online games is that the games often have a “group-fighting” model, which has become a virtual platform for young people to gather. He said the government worries that players can be united and mobilized in the virtual world.

“A group of people may attack a city in a certain game, then evolve into a so-called organized force,” he said. “If one day they are dissatisfied with China’s policies, will they all go to the government gate to protest? I think this is an aspect that the Chinese Communist Party has been strictly controlling.”

Some information is from The Associated Press. 
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