YCLOAK

Ncuti Gatwa will take the mantle from Jodie Whittaker on “Doctor Who,” the BBC announced Sunday, ending speculation over the iconic Time Lord’s next regeneration.

“Sometimes talent walks through the door and it’s so bright and bold and brilliant, I just stand back in awe and thank my lucky stars,” returning showrunner Russell T Davies said in the broadcaster’s release. “Ncuti dazzled us, seized hold of the Doctor and owned those TARDIS keys in seconds.”

Gatwa, whose first name is pronounced ’SHOO-tee, currently stars in Netflix’s high school comedy-drama “Sex Education” as the effervescent Eric Effiong, who is openly gay but from a highly religious family.

The Rwanda-born, Scotland-raised Gatwa, 29, will be the first Black actor to helm the quintessential British sci-fi show, but he won’t be the first Black Doctor — Jo Martin has played “Fugitive Doctor” in several episodes.

Whittaker became the 13th doctor — and the first woman to play the central galaxy-hopping, extraterrestrial Time Lord who regenerates into new bodies — in 2017, when she took over from Peter Capaldi. Her last episode of “Doctor Who” is expected to air later this year.

The original run of “Doctor Who” spanned 1963 to 1989. Since the show was revived in 2005, the Doctor has been played by Christopher Eccleston, David Tennant and Matt Smith, in addition to Capaldi and Whittaker. Other stars, like Karen Gillan and Billie Piper, have made their names on the show as the Doctor’s “companion.”

“This role and show means so much to so many around the world, including myself, and each one of my incredibly talented predecessors has handled that unique responsibility and privilege with the utmost care. I will endeavor my utmost to do the same,” the release quoted Gatwa — who described his emotions as “a mix of deeply honored, beyond excited and of course a little bit scared” — as saying.

In addition to seeing the start of Gatwa’s tenure, next year also marks Davies’ return to “Doctor Who” after more than a decade’s absence.

“Russell T Davies is almost as iconic as the Doctor himself and being able to work with him is a dream come true,” Gatwa said.

The writer and producer ran the reboot until 2009, and has worked on shows like “A Very English Scandal” and “It’s A Sin” in the interim. He promises a “spectacular” 2023.

“Unlike the Doctor, I may only have one heart but I am giving it all to this show,” Gatwa said.
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Irish rock group U2’s frontman Bono and his bandmate The Edge performed a 40-minute concert in a metro station in the Ukrainian capital of Kyiv on Sunday and praised Ukrainians fighting for their freedom from Russia.

“Your president leads the world in the cause of freedom right now … The people of Ukraine are not just fighting for your own freedom, you’re fighting for all of us who love freedom,” Bono told a crowd of up to 100 gathered inside the Khreshchatyk metro station. He was referring to Ukrainian President Volodymyr Zelenskyy.

Russia, which calls its action in Ukraine a “special military operation,” continues to carry out missile strikes across Ukraine. However, some life has returned to Kyiv even though air raid sirens sound regularly.

Bono rallied the crowd between songs during his performance.

“This evening, 8th of May, shots will ring out in the Ukraine sky, but you’ll be free at last. They can take your lives, but they can never take your pride,” he said.
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Almost 400 years ago, the Catholic residents of a small Bavarian village vowed to perform a play of “the suffering, death and resurrection of our Lord Jesus Christ” every 10 years, if only God would spare them any further losses from the plague known as the Black Death.

Legend has it that ever since 1634, when the villagers of Oberammergau first performed their passion play, no more residents died of that pestilence or any other plagues — until 2020, when the world was hit by a new plague, the coronavirus pandemic.
Oberammergau, like so many places worldwide, suffered some COVID-19 deaths, though residents who confirmed that were unsure how many.

Another consequence: The villagers could not fulfill their vow to stage the play after a 10-year interval. It was set to open in the spring of 2020 but was postponed due to the pandemic.

Now, after a two-year delay, the famous Oberammergau Passion Play is finally opening on May 14 — the 42nd staging since its long-ago debut. Almost half of the village’s residents — more than 1,800 people, including 400 children — will participate in the play about the last five days before Christ’s crucifixion.

It’s a production modernized to fit the times, stripped of antisemitic allusions and featuring a diverse cast that include refugee children and non-Christian actors.

The play will be one of the first major cultural events in Germany since the outbreak of the pandemic, with almost half a million visitors expected from Germany and all over the world, notably from the United States.

“Just a few weeks ago, many could not believe that the Passion Play would premiere,” said director Christian Stueckl, who was born in Oberammergau and has been in charge of the play for more than 30 years.

“We don’t know what COVID-19 will do, if there will be another wave,” he said. “But we have an endless desire to bring our passion play back to the stage and we are highly motivated.”

All the actors tested themselves for the virus before every rehearsal and will continue to do so for all 103 performances which run through Oct. 2, Stueckl said. They have all been letting their hair grow — and the men letting beards grow — for over a year, as tradition dictates.

With Russia’s invasion of Ukraine still underway, themes such as war, hunger, persecution and displacement play prominent roles in this year’s production — showing the timelessness of human suffering from 2,000 years ago and from today.

The play — which for hundreds of years reflected a conservative, Catholic outlook — has received a careful makeover to become reflective of Germany’s more diverse society. It includes a leading Muslim actor for the first time and has been purged of the many notorious antisemitic plot lines which drew widespread criticism.

“The history of the Oberammergau Passion Play as being one which manifests these antisemitic tropes — Jews as villainous, Jews as deceptive, Jews as bloodthirsty, Jews as manipulative, Jews as Christ killers — was always part of the story,” Rabbi Noam Marans told The Associated Press in a recent interview in Oberammergau.

Marans, the director for interreligious and intergroup relations for the American Jewish Committee in New York, has been advising Stueckl together with a team of Christian and Jewish American experts for several years on how to rid the play of antisemitic content.

It’s been a success story. The play no longer depicts the Jews as Christ’s killers and shows clearly that Jesus was a Jew himself. It places the story of Jesus’ last days in historical context, with all its intra-Jewish tensions and the Jews’ oppression by the Romans.

The male performers wear yarmulkes, making them clearly recognizable as Jews. Of course, there are many Christian elements as well, such as the famous choir and orchestra whose musical compositions go back to the early 19th century.

The mix of Christian and Jewish influences on the current performance is vividly illustrated during the depiction of the Last Supper, when a huge Menorah is lit on the table and the disciples of Jesus recite both Hebrew prayers and the Christian Lord’s Prayer.

“Let there be no doubt: in Oberammergau, in the play, antisemitism has no place, and it has no place in the lives of the performers either,” Stueckl said.

Along with tackling the play’s antisemitism, Stueckl made it a more inclusive performance overall.

Until the 1990s, when Stueckl took over as director, performers had to belong to one of the two major German churches, Roman Catholic or Lutheran. These days, people who have left the church, atheists, Muslims, and members of any other religious affiliation are welcome to participate as long as they are residents of Oberammergau.

Judas is played by Muslim actor Cengiz Gorur. The deputy director, Abdullah Karaca, is the son of Turkish immigrants. And several children of refugees from Africa and elsewhere, who only recently arrived in Oberammergau after fleeing their home countries, were invited to perform.

When it comes to women, there’s still some work to be done. Stueckl called the play “very male-dominated” — all leading roles are male, with the exception only of Jesus’ mother, Mary, and Mary Magdalene.

Asked whether he could imagine a future performance in which women played leading male roles, Stueckl shook his head.

“I don’t think I will live to see Jesus being played by a woman — or Mary by a man,” he said. Then he paused for a moment, smiled, and added: “Even though the world would not come to an end because of that.”
…

For Allyson Jacobs, life in her 20s and 30s was about focusing on her career in health care and enjoying the social scene in New York City. It wasn’t until she turned 40 that she and her husband started trying to have children. They had a son when she was 42.

Over the past three decades, that has become increasingly common in the U.S., as birthrates have declined for women in their 20s and jumped for women in their late 30s and early 40s, according to a new report from the U.S. Census Bureau. The trend has pushed the median age of U.S. women giving birth from 27 to 30, the highest on record.

As an older parent celebrating Mother’s Day on Sunday, Jacobs feels she has more resources for her son, 9, than she would have had in her 20s.

“There’s definitely more wisdom, definitely more patience,” said Jacobs, 52, who is a patients’ services administrator at a hospital. “Because we are older, we had the money to hire a nanny. We might not have been able to afford that if we were younger.”

While fertility rates dropped from 1990 to 2019 overall, the decline was regarded as rather stable compared to previous eras. But the age at which women had babies shifted. Fertility rates declined by almost 43% for women between ages 20 and 24 and by more than 22% for women between 25 and 29. At the same time, they increased by more than 67% for women between 35 and 39, and by more than 132% for women between 40 and 44, according to the Census Bureau analysis based on National Center for Health Statistics data.

Decisions by college-educated women to invest in their education and careers so they could be better off financially when they had children, as well as the desire by working-class women to wait until they were more financially secure, have contributed to the shift toward older motherhood, said Philip Cohen, a University of Maryland sociologist.

In the past, parents often relied on their children for income — putting them to work in the fields, for example, when the economy was more farm-based. But over the last century or more in the U.S., parents have become more invested in their children’s futures, providing more support while they go to school and enter young adulthood, he said.

“Having children later mostly puts women in a better position,” Cohen said. “They have more resources, more education. The things we demand of people to be good parents are easier to supply when you are older.”

Lani Trezzi, 48, and her husband had their first child, a son, when she was 38, and a daughter followed three years later. Even though she had been with her husband since she was 23, she felt no urgency to have children. That changed in her late 30s, once she’d reached a comfortable spot in her career as an executive for a retail company.

“It was just an age when I felt confident all around in the many areas of my life,” said Trezzi, who lives in New Jersey, outside New York City. “I didn’t have the confidence then that I have now.”

Over the last three decades, the largest increases in the median age at which U.S. women give birth have been among foreign-born women, going from ages 27 to 32, and Black women, going from ages 24 to 28, according to the Census Bureau.

With foreign-born women, Cohen said he wasn’t quite sure why the median age increased over time, but it likely was a “complicated story” having to do with their circumstances or reasons for coming to the U.S.

For Black women, pursuing an education and career played roles.

“Black women have been pursuing higher education at higher rates,” said Raegan McDonald-Mosley, an obstetrician and gynecologist, who is CEO of Power to Decide, which works to reduce teen pregnancies and unwanted births. “Black women are becoming really engaged in their education and that is an incentive to delay childbearing.”

Since unintended pregnancies are highest among teens and women in their 20s, and more of their pregnancies end in abortion compared to older women, ending Roe v. Wade would likely shift the start of childbearing earlier on average, in a reverse of the trend of the past three decades, “although the magnitude is unknown,” said Laura Lindberg, principal research scientist at the Guttmacher Institute, a research group that supports abortion rights.

“The burden will fall disproportionately on women of color, Black women, people without documentation, people living in rural areas, people in the South — where there are a lot of Black women — and in the Midwest,” said McDonald-Mosley, who also has served previously as chief medical officer of Planned Parenthood Federation of America.

Motherhood also has been coming later in developed countries in Europe and Asia. In the U.S., it could contribute to the nation’s population slowdown since the ability to have children tends to decrease with age, said Kate Choi, a family demographer at Western University in London, Ontario.

In areas of the U.S. where the population isn’t replacing itself with births, and where immigration is low, population decline can create labor shortages, higher labor costs and a labor force that is supporting retirees, she said.

“Such changes will put significant pressure on programs aimed at supporting seniors like Social Security, Medicaid, and Medicare,” Choi said. “Workers may have to pay higher taxes to support the growing numbers of the retired population.”

Although the data in the Census Bureau report stops in 2019, the pandemic over the past two years has put off motherhood even further for many women, with U.S. birth rates in 2020 dropping 4% in the largest single-year decrease in nearly 50 years. Choi said there appears to have been a bit of a rebound in the second half of 2021 to levels similar to 2019, but more data is needed to determine if this is a return to a “normal” decline.

During the pandemic, some women at the end of their reproductive years may have given up on becoming parents or having more children because of economic uncertainties and greater health risks for pregnant women who get the virus, she said.

“These women may have missed their window to have children,” Choi said. “Some parents of young children may have decided to forego the second … birth because they were overwhelmed with the additional child-caring demands that emerged during the pandemic, such as the need to homeschool their children.”
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Country star Mickey Gilley, whose namesake Texas honky-tonk inspired the 1980 film Urban Cowboy and a nationwide wave of Western-themed nightspots, has died. He was 86.

Gilley died Saturday in Branson, Missouri, where he helped run the Mickey Gilley Grand Shanghai Theatre. He had been performing as recently as last month but was in failing health over the past week.

“He passed peacefully with his family and close friends by his side,” according to a statement from Mickey Gilley Associates.

Gilley — cousin of rock ‘n’ roll pioneer Jerry Lee Lewis — opened Gilley’s, “the world’s largest honky tonk,” in Pasadena, Texas, in the early 1970s. By mid-decade, he was a successful club owner and had enjoyed his first commercial success with Room Full of Roses. He began turning out country hits regularly, including Window Up Above, She’s Pulling Me Back Again and the honky-tonk anthem Don’t the Girls All Get Prettier at Closing Time.

Overall, he had 39 Top 10 country hits and 17 No. 1 songs. He received six Academy of Country Music Awards, and also worked on occasion as an actor, with appearances on Murder She Wrote, The Fall Guy, Fantasy Island and The Dukes of Hazzard.

“If I had one wish in life, I would wish for more time,” Gilley told The Associated Press in March 2001 as he celebrated his 65th birthday. Not that he’d do anything differently, the singer said.

“I am doing exactly what I want to do. I play golf, fly my airplane and perform at my theater in Branson, Missouri,” he said. “I love doing my show for the people.”

‘Urban Cowboy’

Meanwhile, the giant nightspot’s attractions, including its famed mechanical bull, led to the 1980 film Urban Cowboy, starring John Travolta and Debra Winger and regarded by many as a countrified version of Travolta’s 1977 disco smash, Saturday Night Fever. The film inspired by Gilley’s club was based on an Esquire article by Aaron Latham about the relationship between two regulars at the club.

“I thank John Travolta every night before bed for keeping my career alive,” Gilley told the AP in 2002. “It’s impossible to tell you how grateful I am for my involvement with Urban Cowboy. That film had a huge impact on my career, and still does.”

The soundtrack included such hits as Johnny Lee’s Lookin’ for Love, Boz Scaggs’ Look What You’ve Done for Me and Gilley’s Stand by Me. The movie turned the Pasadena club into an overnight tourist draw and popularized pearl snap shirts, longneck beers, the steel guitar and mechanical bulls across the country.

But the club shut down in 1989 after Gilley and his business partner Sherwood Cryer feuded over how to run the place. A fire destroyed it soon after.

An upscale version of the old Gilley’s nightclub opened in Dallas in 2003. In recent years, Gilley moved to Branson.

He was married three times, most recently to Cindy Loeb Gilley. He had four children, three with his first wife, Geraldine Garrett, and one with his second, Vivian McDonald.

A Natchez, Mississippi, native, Gilley grew up poor, learning boogie-woogie piano in Ferriday, Louisiana, alongside Lewis and fellow cousin Jimmy Swaggart, the future evangelist. Like Lewis, he would sneak into the Louisiana clubs to listen to R&B music. He moved to Houston to work construction but played the local club scene at night and recorded and toured for years before catching on in the ’70s.

Gilley had suffered health problems in recent years. He underwent brain surgery in August 2008 after specialists diagnosed hydrocephalus, a condition characterized by an increase in fluid in the cranium. Gilley had been suffering from short-term memory loss and credited the surgery with halting the onset of dementia.

He underwent more surgery in 2009 after he fell off a step, forcing him to cancel scheduled performances in Branson. In 2018, he sustained a fractured ankle and fractured right shoulder in an automobile accident.
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Rich Strike came off a blistering pace at odds of more than 80-1 to beat 19 blue-blooded opponents and produce one of the biggest upsets in history while capturing the 148th running of the Kentucky Derby on Saturday afternoon at Churchill Downs in Louisville, Kentucky.

Rich Strike, who was only entered into the field on Friday when Ethereal Road was scratched, is trained by Eric Reed, and owned by RED TR-Racing. Sonny Leon, a journeyman jockey based in Ohio, rode Rich Strike and won his first Kentucky Derby in his first attempt.

Race-favorite Epicenter was second by a length, with Zandon third by another half-length.

Rich Strike had raced just seven times before the Derby, winning once and finishing third three times.

He found his way through the field after starting in the 21st and far outside post position and under the fastest opening quarter mile in race history.

Rich Strike was still far back under a very fast pace as the horses turned for home down the long Churchill Downs stretch but went to the rail to save ground. Leon moved out to get past a fading Messier and then returned to the rail to run down Epicenter and Zandon, who were eye to eye with the finish line in sight but could not hold off the winner.

The winner is the second longest shot to win the Derby after Donerail took the post at 91-1 odds to win the Run for the Roses in 1913. 
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Elvis Costello, Patti Smith and Mavis Staples will be among the dignitaries expected in Tulsa, Oklahoma, this weekend for the opening of the Bob Dylan Center, the museum and archive celebrating the Nobel laureate’s work.

Dylan himself won’t be among them, unless he surprises everyone.

The center’s subject and namesake has an open invitation to come anytime, although his absence seems perfectly in character, said Steven Jenkins, the center’s director. Oddly, Dylan was just in Tulsa three weeks ago for a date on his concert tour, sandwiched in between Oklahoma City and Little Rock, Arkansas. He didn’t ask for a look around.

“I don’t want to put words in his mouth,” Jenkins said. “I can only guess at his reasoning. Maybe he would find it embarrassing.”

It’s certainly unusual for a living figure — Dylan is due to turn 81 on May 24 — to have a museum devoted to him, but such is the shadow he has cast over popular music since his emergence in the early 1960s. He’s still working, performing onstage in a show devoted primarily to his most recent material.

And he’s still pushing the envelope. “Murder Most Foul,” Dylan’s nearly 17-minute rumination on the Kennedy assassination and celebrity, is as quietly stunning as “Like a Rolling Stone” was nearly a half-century ago, even if he’s no longer at the center of popular culture.

The center offers an immersive film experience, performance space, a studio where visitors can play producer and “mix” different elements of instrumentation in Dylan’s songs and a curated tour where people can take a musical journey through the stages of his career. The archive has more than 100,000 items, many accessed only by scholars through appointment.

Museum creators said they wanted to build an experience both for casual visitors who might not know much of Dylan’s work and for the truly fanatical — the skimmers, the swimmers and the divers, said designer Alan Maskin of the firm Olson Kundig.

The museum hopes to celebrate the creative process in general, and at opening will have an exhibit of the work of photographer Jerry Schatzberg, whose 1965 image of Dylan is emblazoned on the building’s three-story facade.

Since Dylan’s still creating, “we’re going to continue to play catch-up” with him, Jenkins said.

So for a figure who was born and raised in Minnesota, came of musical age in New York and now lives in California, how does a museum devoted to his life’s work end up in Oklahoma?

He’s never seemed the nostalgic type, but Dylan recognized early that his work could have historical interest and value, Jenkins said. Together with his team, he put aside boxes full of artifacts, including photos, rare recordings and handwritten lyrics that show how his songs went through revisions and rewrites.

With use of those lyrics, two of the early displays will focus on how the songs “Jokerman” and “Tangled Up in Blue” took shape — the latter with lyrics so elastic that Dylan was still changing verses after the song had been released.

Dylan sold his archive in 2016 to the Tulsa-based George Kaiser Family Foundation, which also operates the Woody Guthrie Center — a museum that celebrates one of Dylan’s musical heroes and is only steps away from the new Dylan center.

Dylan likes the Guthrie museum, and also appreciates Tulsa’s rich holdings of Native American art, Jenkins said. Much of that is on display at another new facility, the Gilcrease Museum, which is also the world’s largest holding of art of the American West.

“I think it’s going to be a true tourist draw to Tulsa for all the right reasons,” said Tulsa Mayor G. T. Bynum. “This is one of the great musicians in the history of humankind and everyone who wants to study his career and see the evolution of his talent will be drawn to it.”

Bynum hopes that it also encourages others who may someday want to put their archives on display, and make Tulsa a center for the study of modern American music.

Dylan designed and built a 16-foot-high metal sculpture that will be displayed at the entrance to the museum. Otherwise, he had nothing to do with the museum’s design and declined, through a spokesman, to offer a comment about the opening.

“If Bob were telling us what we could or couldn’t do, it would have felt like a vanity project, in a way,” Maskin said. “It was a tremendous relief not to have to satisfy Bob Dylan.”

Still, it’s safe to assume the lines of communication are open if necessary: Jenkins, the center’s director, is the brother of Larry Jenkins, Dylan’s long-time media representative.

In addition to a dinner to celebrate the opening this weekend, Costello, Smith and Staples will all perform separate concerts at Cain’s Ballroom. Costello was asked to program a jukebox that will be on display at the museum and, within a day, submitted his suggestions for 160 Dylan songs and covers, Steven Jenkins said.

The Bob Dylan Center is open to the public on May 10.

Maskin has no expectation that Dylan will ever see the designer’s work. Still, he indulges himself in a fantasy of a slow summer day, a security guard dozing in the corner, and someone slipping in wearing black jeans, sunglasses and a familiar mop of hair to wander among the displays.

“To be honest, I don’t think that’s going to happen,” he said. “I think he’s interested in the work he’s doing, and not the work he’s done.”
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An Andy Warhol portrait of Marilyn Monroe worth an estimated $200 million headlines this month’s spring sales in New York that collectors say are among the most anticipated ever.

Christie’s expects Warhol’s 1964 Shot Sage Blue Marilyn to become the priciest 20th century artwork when the auction house puts it under the hammer on Monday. 

Not to be outdone, competitor Sotheby’s is offering $1 billion of modern and contemporary art, including the second helping of the famed Macklowe Collection, during its marquee week in May.

“The excitement is certainly unprecedented,” Joan Robledo-Palop, a collector and CEO of Zeit Contemporary Art in New York City, told AFP, about the buzz surrounding this season’s auctions.

The 100-centimeter by 100-centimeter silk-screen Warhol is part of a series of portraits the pop artist made of Monroe following her death from a drug overdose in August 1962.

They became known as the Shot series after a visitor to Warhol’s “Factory” studio in Manhattan fired a gun at them, piercing the portraits which were later repaired.

Alex Rotter, head of 20th and 21st century art at Christie’s, has called the portrait “the most significant 20th century painting to come to auction in a generation.”

The current most expensive 20th century auctioned work is Picasso’s Women of Algiers, which fetched $179.4 million in 2015.

The auction record for a Warhol is the $104.5 million paid for Silver Car Crash (Double Disaster) in 2013.

Other highlights offered by Christie’s include Jean-Michel Basquiat’s Portrait of the Artist as a Young Derelict (1982), expected to go for more than $30 million, and Untitled (Shades of Red) by Mark Rothko, tipped to fetch up to $80 million.

The auction house is also offering three Claude Monet oil on canvases that are predicted to sell for upwards of $30 million each.

Rothko, Picasso, Richter

“Every couple of decades you have a sale where the quality is so high that you don’t see all of this at once normally. This season really grew into one of those unique moments,” Rotter told AFP.

After selling the first batch of works from the Macklowe Collection — the most expensive to hit the market at $600 million — last fall, Sotheby’s will auction the remaining 30 items when its sales open on May 16.

Highlights include Gerhard Richter’s 1975 Seascape, estimated at up to $35 million, and Rothko’s Untitled from 1960 that has a high-end pre-sale estimate of $50 million.

Sotheby’s said its modern evening auction of 19th and 20th century works, including by Pablo Picasso and Philip Guston, is its “most valuable” in the category in 15 years.

Picasso’s Femme nue couchée is appearing at auction for the first time, and Sotheby’s expects it to fetch more than $60 million. Other highlights include a Monet view of Venice tipped to fetch $50 million.

Brooke Lampley, head of sales for global fine art at Sotheby’s, said she expects records to be broken across categories.

“The art market is very strong. That’s why we see such an amazing array of works on offer this season,” she told AFP. 
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China is stepping up censorship of U.S. films as producers make movies with an eye toward pleasing Beijing yet without isolating the global audience, industry insiders say.    

The roughly 25-year-old practice of cutting scenes that don’t conform to Communist Party ideals from Hollywood movies has expanded.  

“Now it’s kind of escalated in the sense that they’re much more direct in banning films outright rather than just tampering or asking for scenes to be removed,” said Stanley Rosen, a University of Southern California political science professor who follows China’s film industry.  

Industry observers say censors are also asking that versions of movies for audiences outside China follow Beijing’s script.  

Hollywood movies, Chinese censors  

It is unlikely that censors will allow the 2022 Marvel Studios movie “Doctor Strange in the Multiverse of Madness” to be shown in China. The state-affiliated Global Times tabloid published a scathing op-ed on the film Sunday, saying that it contains nods to Falun Gong, a spiritual movement Beijing has banned and labeled as a cult. According to the op-ed, a news rack for The Epoch Times, a publication the writer calls “the mouthpiece of the Falun Gong,” appears in the frame as Doctor Strange battles a tentacled monster. 

Liu Pengyu, spokesperson of the Chinese embassy in Washington, said, “As a country under the rule of law, China regulates the film industry in accordance with the Film Administration regulations.” Liu, however, did not describe the process in detail.  

Marvel Studios did not reply to VOA’s questions about “Doctor Strange in the Multiverse of Madness.”  

The China Film Administration, an oversight body for the $7.4 billion market, banned Marvel Studios’ 2021 superhero films “Eternals” and “Shang-Chi and the Legend of the Ten Rings,” which were released last year.  

The 2021 superhero film “Spider-Man: No Way Home” missed Chinese approval because authorities wanted Sony Pictures to remove images of the Statue of Liberty from the film, several news outlets reported.  

The 2015 sci-fi movie “Pixels” made it into China after removing a scene of aliens blasting a hole into the Great Wall, news reports said at the time.  

“As the dragon gets bigger, its leverage gets bigger, and no one’s pushed back yet,” said Chris Fenton, Hollywood executive and lifetime member of the Council on Foreign Relations think tank.  

An increase in Sino-U.S. tensions since the administration of former U.S. president Donald Trump may have exacerbated China’s treatment of American movies, said James Tager, research director at the free-speech advocacy group PEN America in New York.  

Film studios stuck in the middle  

Film studios have been operating under the pressure of satisfying censors in China — a massive market in normal times, when cinemas are not closed because of COVID-19 — while appearing before American audiences and legislators as supporters of artistic freedom, Tager said.  

Hollywood doesn’t want a “pinball”— a situation in which both U.S. and Chinese officials take aim at the film industry, he said.  

Hollywood companies are pre-censoring films to avoid losing access to China’s lucrative box office market, PEN America said in a 2020 report.  

Refusal of a Chinese order to cut a scene would risk the studio’s future business in China, such as the next Disney or Marvel film or other assets, Tager said. Walt Disney Co., for example, has a 47% stake in Shanghai Disneyland, according to the PEN America report.  

“You may get a reputation as someone who doesn’t play ball, which could have even further knock-on effects, possibly for other films or possibly for other business relationships that large studios have in China,” he said.   

Self-censorship is getting worse, Fenton said. Some studios even worry that China will punish them for leaving objectionable scenes in film versions for audiences outside China.  

“To me, the bigger issue is when China tells us we can’t have stuff in movies for other markets,” Fenton said. “That’s where we’re suddenly allowing them to spread their narrative rather than the narrative of the filmmakers or the studio or of Hollywood — or the U.S. or the Western side of things. Who gives them that right to tell us we can’t have that in a movie that someone in Argentina sees?”  

China wants its view of the world to resonate worldwide, said James Gomez, regional director of the Asia Centre, a Bangkok-based think tank.    

“It’s competing powers, it’s competing narratives,” he said. “It’s a different world view, and China wants to be able to shape the world view.”  

Objections to Chinese-tailored films  

The Philippines pushed back against studios’ attempt to woo China in the case of the 2022 American action movie “Uncharted.” The Southeast Asian country’s cinemas yanked the movie at the request of the Philippine Department of Foreign Affairs. The department objected to a scene that showed Beijing’s nine-dash line claim to the South China Sea, which Manila vigorously disputes. The nine dashes demarcate China’s claim to about 90% of the sea.  

Manila moved earlier to block the showing of “Abominable,” a 2019 animated collaboration between a U.S. and a Chinese production company, because the same nine-dash line was shown in the cartoon.  

Some studios may eventually forego the China market to be seen elsewhere as “celebrating artistic freedom elsewhere on the globe,” Tager said.  

Hollywood is slowly factoring in the “arbitrary” demands from China, Rosen said. One thing it has learned, he said, is to avoid making Chinese-themed films such as “Shang-Chi” because those can be better done in China.  
…

The shirt worn by Diego Maradona when he scored the controversial “Hand of God” goal against England in the 1986 World Cup has sold for $9.3 million (7.1 million pounds), the highest price ever paid at auction for a piece of sports memorabilia. 

Auctioneer Sotheby’s sold the shirt in an online auction that closed Wednesday. It did not identify the buyer. 

Maradona scored two goals during the quarterfinal game in Mexico City on June 22, 1986, just four years after Britain and Argentina had fought a war over the Falkland Islands. The Argentine great’s first goal was ruled a header, but the ball had bounced off Maradona’s fist, out of sight of the referee. 

Maradona said afterward that it had been scored “a little with the head of Maradona, and a little with the hand of God.” 

Maradona’s second goal saw him dribble the ball past almost the entire English team before beating goalkeeper Peter Shilton. In 2002, it was voted “goal of the century” in a FIFA poll. 

Argentina won the game 2-1 and went on to win the World Cup. 

After the game. Maradona swapped shirts with England midfielder Steve Hodge, who loaned it long-term to England’s National Football Museum in Manchester before putting it up for sale. 

Maradona, considered by many to be the greatest player of all time, struggled with cocaine abuse and other excesses and died in November 2020 at age 60.

After Sotheby’s announced the coming sale last month, relatives of Maradona expressed doubt the blue No. 10 jersey was the shirt the soccer star had worn in the second half of the game, when he scored both goals. The auction house said the shirt’s identity was confirmed by sports memorabilia photo-matching firm Resolution Photomatching and confirmed by Sotheby’s chief science officer. 

Brahm Wachter, Sotheby’s head of streetwear and modern collectibles, said the shirt was “a tangible reminder of an important moment not only in the history of sports, but in the history of the 20th century.” 

The previous record for sports memorabilia was $8.8 million paid at a December 2019 auction for the manifesto that launched the modern Olympic movement. The previous record for a piece of sportswear was $5.64 million for a Babe Ruth New York Yankees jersey in 2019. 

The sale prices include an auction house charge known as the buyer’s premium.
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Eminem, Lionel Richie, Carly Simon, Eurythmics, Duran Duran and Pat Benatar have been inducted into the Rock & Roll Hall of Fame, a list that also includes Dolly Parton, who initially resisted the honor.

The honorees — voted on by more than 1,000 artists, historians and music industry professionals — “each had a profound impact on the sound of youth culture and helped change the course of rock ‘n’ roll,” said John Sykes, the chairman of the Rock Hall, in a statement Wednesday.

Parton had gone on social media to “respectfully bow out” of the process, saying she did not want to take votes away from the remaining nominees and had not “earned that right.” The Rock & Roll Hall of Fame Foundation responded by saying ballots had already been sent and it was up to the voters to decide if Parton was elected. Parton later said she would accept an induction.

To be eligible, artists are required to have released their first record 25 years prior to induction. Parton, Richie, Simon and Duran Duran were selected on their first go-round. Simon was a first-time nominee this year more than 25 years after becoming eligible. Eminem becomes the 10th hip-hop act to be inducted, making the cut on his first ballot.

The hall also announced Wednesday that Judas Priest and Jimmy Jam & Terry Lewis are getting the award for musical excellence and that Harry Belafonte and Elizabeth Cotten will be honored with the Early Influence Award.

Other artists and groups that failed this year for induction in the performer category are A Tribe Called Quest, Rage Against the Machine, Dionne Warwick, Carly Simon, Beck, Kate Bush, DEVO, Fela Kuti, MC5 and the New York Dolls.

Parton is most associated with country music and is in the Country Hall of Fame, but she has performed songs with a rock feel. Artists who have made both the Rock Hall and Country Hall of Fame include Brenda Lee, Johnny Cash, Elvis Presley, Chet Atkins, Hank Williams and the Everly Brothers.

The induction ceremony will be held Nov. 5 at the Microsoft Theater in Los Angeles.
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U.S. comedian Dave Chappelle was attacked on stage on Tuesday night at the Hollywood Bowl in Los Angeles by an assailant who rugby-tackled him before being apprehended and arrested, video footage verified by Reuters showed.

The attack came just over a month after actor Will Smith slapped comedian Chris Rock on stage at the Oscars, an unprecedented incident at the globally televised event that prompted concerns that performers might be subject to copycat assaults.

Smith, who won the best actor award, was subsequently banned from attending the Oscars for 10 years.

It was not immediately clear if Chappelle was injured in Tuesday’s attack, or what motivated it.

An agent and public relations representative for Chappelle were not immediately available for comment. A representative for the Hollywood Bowl told Reuters the incident was under investigation, declining to comment further.

According to an ABC report, Rock, who had performed earlier in the evening, joined Chappelle on stage moments after it took place and joked: “Was that Will Smith?”

Chappelle and Rock were giving shows as part of an 11-day comedy festival called “Netflix is a Joke.”

Los Angeles police took a male suspect into custody who NBC Los Angeles said was armed with a replica gun capable of ejecting a knife blade.

Video footage obtained by Reuters showed the suspect on a stretcher being placed into an ambulance. He was taken to hospital with minor injuries, NBC Los Angeles cited police as saying.

Los Angeles Police Department officials did not immediately respond to a Reuters request for comment.

Chappelle’s Netflix comedy special “The Closer” was criticized last year by some who saw it as ridiculing transgender people. Supporters of the comedian viewed it as a cry against cancel culture.

Brianna Sacks, a journalist for BuzzFeed News who attended h event, said the altercation took place as Chappelle ended his performance.
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This was the first Eid al-Fitr in the United States for most of the more than 70,000 Afghan refugees who came to the country following the Taliban takeover last August. For VOA, Genia Dulot met with some of those refugees in California to see how they are marking the end of Ramadan. Camera:  Genia Dulot  
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Hundreds of A-listers dressed to the theme of “gilded glamour”  gathered Monday in New York for the annual Met Gala extravaganza known as “the party of the year.

The fundraiser is back in its usual early May slot after the coronavirus pandemic forced the cancellation of the 2020 event and delayed last year’s edition to autumn.   

Some 400 celebrities from the worlds of music, film, fashion, sports and more  strutted their stuff at the over-the-top costume parade on the Metropolitan Museum of Art’s carpeted steps.

The invitation-only guest list is a closely guarded secret, but frequent attendees have included Beyoncé, Justin Bieber and Elon Musk.  

Some of the more eye-catching outfits worn over the years have included Beyoncé’s “naked dress” and Kim Kardashian’s face-covering black bodysuit.    

In 2019, the last edition before the pandemic, Lady Gaga did a striptease of four different outfits, starting in a billowing fuchsia dress and ending in black lingerie. 

Also grabbing headlines that year was singer and actor Billy Porter, who dressed as a sun god. With outstretched golden wings, he was carried in by six shirtless men.

At last year’s event, held in September, left-wing politician Alexandria Ocasio-Cortez caused a stir by wearing a dress emblazoned with the slogan “Tax the Rich.” 

That struck a nerve at the celebration of fashion where tickets cost $35,000 and tables go for up to $300,000.   

The gala — overseen by the high-priestess of fashion, Vogue magazine editor-in-chief Anna Wintour — raises millions of dollars for The Met’s Costume Institute.

Last year, the event raised more than $16.4 million for the institute. 

The dress code comes from the annual exhibit that the party coincides with. This year’s is “In America: An Anthology of Fashion,” a retrospective from the late 19th century to the present. 

Monday’s gala was co-hosted by actor-couple Blake Lively and Ryan Reynolds, Oscar-winning actress Regina King, and Lin-Manuel Miranda, creator of the Broadway hit “Hamilton.” 

This year’s honorary presidents are Instagram boss Adam Mosseri and designer Tom Ford, who was expected to dress many of the attendees. 

The gala was first held in 1948 and was for a long time reserved for New York’s high society.  Wintour took over running it in 1995, transforming the event into a catwalk for the rich and famous. 
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The Council on American-Islamic Relations (CAIR) reported there was a spike in Islamophobia and a surge in hate crimes against Muslims in the United States last year. The council recommends bringing minority communities together to try to defuse tensions. One such effort is linked to celebrations to mark the end of the Muslim month of Ramadan. VOA’s Saqib Ul Islam reports from a Sikh community in Virginia. Camera:  Saqib Ul Islam    
Produced by: Saqib Ul Islam    
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The UEFA Champions League, soccer’s governing body, announced Monday the Russian women’s soccer team will be banned from the Women’s European Championship in July and from participating in qualifying for next year’s World Cup over Russia’s invasion of Ukraine.

The Russian team will be replaced by the Portuguese team for the tournament that will be played from July 6-31 in England.

Russian soccer faced a slew of bans following the invasion.

“Further to its 28 February 2022 decision to suspend all Russian representative teams and clubs from participating in UEFA competition matches until further notice, the UEFA Executive Committee today took a series of decisions relating to the implications of that decision for its upcoming competitions, in order to ensure their smooth staging in a safe and secure environment for all those concerned,” UEFA said in a press release.

UEFA also denied Russia’s bid to host the men’s European championships in 2028 and 2032.

Russian club teams will also be barred from participating in the Champions League, the Europa League and the Europa Conference League next year.

The Russian national men’s team was already banned from the upcoming World Cup in Qatar.

Some information in this report comes from Reuters.
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Skateboarding tends to be the domain of the young and agile. But as Genia Dulot reports from Los Angeles, Tracie Garacochea finds age and limited mobility are no barriers to the sport or other aspects of her life.
Videographer: Genia Dulot Produced by: Genia Dulot, Jack Lacy
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Egyptian worshippers, workers, families, and friends are celebrating Eid al-Fitr, the three-day Islamic holiday marking the end of the holy month of Ramadan.
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Russia’s Bolshoi Theatre has announced it is cancelling the performances directed by Kirill Serebrennikov and Timofey Kulyabin who have spoken out against Moscow’s military campaign in Ukraine.

Late Sunday, Russia’s top theatre announced that instead of the three performances of “Nureev,” a ballet directed by Serebrennikov, the audiences this week will see a production of Aram Khachaturian’s ballet, “Spartacus.”

The prestigious theatre also said that instead of “Don Pasquale,” a comic opera by Gaetano Donizetti directed by Timofey Kulyabin, audiences this week will see a production of Gioachino Rossini’s “The Barber of Seville.”

The Bolshoi did not give any reason for the cancellations and spokeswoman Katerina Novikova told AFP on Monday that she had no “official” comment.

The Bolshoi performed “Spartacus” in early April, saying that proceeds would be used to help the families of Russian troops who died in Ukraine.

Serebrennikov, 52, was allowed in March to leave Russia, where he had been found guilty in 2020 of embezzling funds at Moscow’s Gogol Centre theatre.

His supporters say the conviction was revenge for his criticism of authoritarianism and homophobia under President Vladimir Putin.

Speaking to AFP in Berlin last month, Serebrennikov said he felt “just horror, sadness, shame, pain” about Russia’s military campaign in pro-Western Ukraine.

“Nureev” is based on the life of Russian dance legend Rudolf Nureyev, and its use of onstage nudity and profane language outraged Russian conservatives.

Kulyabin, 37, who is also believed to be now based in Europe, has spoken out against Putin’s decision to send troops to Ukraine.

Several dancers have in recent weeks quit the Bolshoi including prima ballerina Olga Smirnova.
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Ray Charles and The Judds joined the Country Music Hall of Fame on Sunday in a ceremony filled with tears, music and laughter, just a day after Naomi Judd died unexpectedly.

The loss of Naomi Judd altered the normally celebratory ceremony, but the music played on, as the genre’s singers and musicians mourned Naomi Judd while also celebrating the four inductees: The Judds, Ray Charles, Eddie Bayers and Pete Drake. Garth Brooks, Trisha Yearwood, Vince Gill and many more performed their hit songs.

Naomi and Wynonna Judd were among the most popular duos of the 1980s, scoring 14 No. 1 hits during their nearly three-decade career. On the eve of her induction, the family said in a statement to The Associated Press that Naomi Judd died at the age of 76 due to “the disease of mental illness.”

Daughters Wynonna and Ashley Judd accepted the induction amid tears, holding onto each other and reciting a Bible verse together.

“I’m sorry that she couldn’t hang on until today,” Ashley Judd said of her mother to the crowd while crying. Wynonna Judd talked about the family gathering as they said goodbye to her and she and Ashley Judd recited Psalm 23.

“Though my heart is broken I will continue to sing,” Wynonna Judd said.

Fans gathered outside the museum, drawn to a white floral bouquet outside the entrance and a small framed photo of Naomi Judd below. A single rose was laid on the ground.

Charles’ induction showcased his genre-defying country releases, which showed the genre’s commercial appeal. The Georgia-born singer and piano player grew up listening to the Grand Ole Opry and in 1962 released “Modern Sounds in Country and Western Music,” which became one of the best-selling country releases of his era.

The piano player, blinded and orphaned at a young age, is best known for R&B, gospel and soul, but his decision to record country music changed the way the world thought about the genre, expanding audiences in the Civil Rights era.

Charles’ version of “I Can’t Stop Loving You,” spent five weeks on top of the Billboard 100 chart and remains one of his most popular songs. He died in 2004.

Brooks sang “Seven Spanish Angels,” one of Charles’ hits with Willie Nelson, while Bettye LaVette performed “I Can’t Stop Loving You.”

Country Music Hall of Famer Ronnie Milsap said he met Charles when he was a young singer and that others tried to imitate Charles, but no one could measure up.

“There was one of him and only one,” said Milsap. “He sang country music like it should be sung.”

The Hall of Fame also inducted two recording musicians who were elemental to many country songs and singers: Eddie Bayers and Pete Drake.

Bayers, a drummer in Nashville for decades who worked on 300 platinum records, is a member of the Grand Ole Opry band. He regularly played on records for The Judds, Ricky Skaggs, George Strait, Alan Jackson and Kenny Chesney. He is the first drummer to join the institution.

Drake, who died in 1988, was a pedal steel guitar player and a member of Nashville’s A-team of skilled session musicians, played on hits like “Stand By Your Man” by Tammy Wynette and “He Stopped Loving Her Today” by George Jones. He is the first pedal steel guitar player to become part of the Hall of Fame.
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Afghan Taekwondo champion Nisar Ahmad Abdulrahimzai fled Afghanistan for Ukraine and is now in Switzerland. Despite his circumstances, he says he is ready to represent Afghanistan in competition. VOA’s Waheed Faizi has the story.
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Naomi Judd, the Kentucky-born singer of the Grammy-winning duo The Judds and mother of Wynonna and Ashley Judd, has died. She was 76.

The daughters announced her death Saturday in a statement provided to The Associated Press.

“Today we sisters experienced a tragedy. We lost our beautiful mother to the disease of mental illness,” the statement said. “We are shattered. We are navigating profound grief and know that as we loved her, she was loved by her public. We are in unknown territory.”

Naomi Judd died near Nashville, Tennessee, said a statement on behalf of her husband and fellow singer, Larry Strickland. It said no further details about her death would be released and asked for privacy as the family grieves.

The Judds were to be inducted into the Country Music Hall of Fame on Sunday and they had just announced an arena tour to begin in the fall, their first tour together in over a decade. They also made a return to awards shows when they performed at the CMT Music Awards earlier this month.

“Honored to have witnessed ‘Love Can Build a Bridge’ just a few short weeks ago,” singer Maren Morris posted on Twitter Saturday.

“This is heartbreaking news! Naomi Judd was one of the sweetest people I’ve ever known,” singer Travis Tritt posted on Twitter, noting that he had worked with Judd several times on screen and during performances.

The mother-daughter performers scored 14 No. 1 songs in a career that spanned nearly three decades. After rising to the top of country music, they called it quits in 1991 after doctors diagnosed Naomi Judd with hepatitis. Wynonna continued her solo career.

The Judds’ hits included “Love Can Build a Bridge” in 1990,”Mama He’s Crazy” in 1984, “Why Not Me” in 1984,”Turn It Loose” in 1988, “Girls Night Out” in 1985, “Rockin’ with the Rhythm of the Rain” in 1986 and “Grandpa” in 1986.

Born Diana Ellen Judd in Ashland, Kentucky, Naomi was working as a nurse in Nashville, when she and Wynonna started singing together professionally. Their unique harmonies, together with elements of acoustic music, bluegrass and blues, made them stand out in the genre at the time.

“We had a … such a stamp of originality on what we were trying to do,” Naomi Judd told The AP after it was announced that they would be joining the Country Music Hall of Fame.

The Judds released six studio albums and an EP between 1984 and 1991 and won nine Country Music Association Awards and seven from the Academy of Country Music. They earned a total of five Grammy Awards together on hits like “Why Not Me” and “Give A Little Love.”

The Judds sang about family, the belief in marriage and the virtue of fidelity. Because Naomi was so young looking, the two were mistaken for sisters early in their career.

They first got attention singing on Ralph Emery’s morning show in early 1980, where the host named them the “Soap Sisters” because Naomi said she used to make her own soap.

After the success of “Mama He’s Crazy,” they won the Horizon Award at the 1984 CMA Awards. Naomi started her speech by saying “Slap the dog and spit in the fire!”

Daughter Ashley Judd is an actor known for her roles in such movies as “Kiss the Girls,” “Double Jeopardy” and “Heat.”

Strickland, who was a backup singer for Elvis Presley, was married to Naomi Judd for 32 years.
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For many students, living and studying at one of the most prestigious schools in the United States can be stressful and sometimes a little lonely. But some Muslim students at Princeton University can find comfort in their community during the month of Ramadan. VOA’s Nida Samir reports.
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A musical that depicts the remarkable escape from the Holocaust of a renowned Jewish sculptor and his family is about to open in Australia. Driftwood recounts the journey of Karl Duldig, his wife Slawa Horowitz-Duldig – inventor of the modern foldable umbrella – and their baby daughter, Eva. They fled the Nazis from Vienna in 1938, sought refuge in Singapore, but were deported to Australia in September 1940.

“Driftwood” is based on a 2017 memoir by Karl Duldig’s daughter, Eva. She was a child when the family arrived in Australia. It was during World War II, and the family were classified as enemy aliens. They were interned in an isolated camp in the state of Victoria until 1942, when Karl Duldig joined the Australian army.

Eva de Jong-Duldig, who became a talented tennis player and reached the quarterfinals at Wimbledon in 1961, says the musical is an epic story of survival.

“My parents were inspiration. I think what I admire most is their resilience after coming through such a terrible period in which they lost nearly all their family. They made new lives here in Australia and they became wonderful art teachers, and my dad became really very well recognized as a sculptor,” she noted.

They rebuilt their lives as artists in Melbourne in what is described as a “magical” family history of “creativity, perseverance and freedom.”

Their granddaughter, Tania De Jong, is one of the musical’s main performers. She told the Australian Broadcasting Corp., that Driftwood has become a story with a global appeal.

“Both of us just felt a really strong yearning to create a new Australian musical that was deep and substantial and told a very meaningful story. But we do also have an enormous amount of interest from international film producers to turn this epic story into a feature film as well,” she expressed.

Karl Duldig died in Melbourne in 1986. His wife, Slawa, died in 1975.

The show has had positive reviews from Australia’s Jewish community.

Hadassah Australia, an organization that supports programs that connect the Australian community with Israel, said it looked “forward to the success of the musical telling [of Eva de Jong-Duldig] parents’ story.”

Theatrepeople.com.au, an online publication, said “Driftwood” “features a fluid sense of time, as characters reconstruct past experiences, to make sense of history. It is an epic, ambitious theatrical piece and a truly original Australian story.”

The Australian Jewish News said it would be giving away free tickets to the show’s opening night.

The world premiere takes place at Monash University in Melbourne May 13.
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