NANTERRE, France — The party for Léon Marchand spread beyond the pool, quickly sweeping across Paris.

At Stade de France, hosting the first night of track and field, an enormous ovation broke out when Marchand won his fourth gold medal of the Olympics. The roar was so loud that the first heat of the 400-meter run in the decathlon was delayed.

At the French Olympic house, nearly 20,000 gathered outside to watch Marchand cap his dominating run at the pool, including 19-year-old Arthur Oursel.

“He’s a hero,” Oursel said. “He’s our hero.”

With French President Emmanuel Macron among the more than 15,000 fans cheering him on in a rugby stadium-turned-natatorium, Marchand soared to another runaway victory in the 200-meter individual medley Friday night.

“I don’t think anything went wrong this week,” Marchand said. “It was just perfect.”

The 22-year-old French phenomenon left no doubt he’ll be remembered as one of the biggest stars of the Summer Games in his home country. He finished in an Olympic record of 1 minute, 54.06 seconds, just missing Ryan Lochte’s 13-year-old world mark.

That was about the only thing he didn’t accomplish in six magical days at La Defense Arena, previously winning the 400 IM, 200 butterfly and 200 backstroke — the latter two about two hours apart in the same session.

Marchand became only the fourth swimmer in Olympic history to win four individual golds at a single Games.

The others? Michael Phelps, who did it in both 2004 and 2008; Mark Spitz in 1972; and East German Kristin Otto in 1988.

Heady company, indeed.

“That’s crazy. Those guys are legends,” Marchand said. “I don’t think I have realized it yet. Maybe I will in a few days.”

The silver went to Britain’s Duncan Scott, a body length behind at 1:55.31. China’s Wang Shun grabbed the bronze in 1:56.00, edging out American Carson Foster for a spot on the podium.

What a night for France

A packed house at La Defense Arena came to cheer on their favorite son one more time. They chanted, sang Sweet Caroline, waved the French tricolor flag and unveiled a huge tifo in the upper deck.

After Marchand touched the wall, he held up four fingers — one for every gold. He climbed from the pool, pumped his fists, then held out his arms as if to say, “What more could you want?”

Not a thing.

He had done it all, more than fulfilling the expectations of his nation and the comparisons to Phelps, who was here to cheer Marchand on. What might have been a burden to some athletes only seemed to push Marchand to even greater heights.

Macron shook Marchand’s hand during Friday’s celebration and sent his congratulations via social media.

“The impossible isn’t French!” Macron wrote in French. “Four home gold medals and a new Olympic record — it’s historic. It’s Leon Marchand.”

Marchand certainly enjoyed his moment, which his American coach Bob Bowman — Phelps’ coach, in an appropriate touch — had encouraged him to do.

He led the fans behind the podium in a cheer before climbing to the top step one more time. The crowd erupted in its most rousing rendition yet of La Marseillaise — though, of course, they’ve had plenty of chances to work on the French national anthem this week.

Chants of “Léon! Léon! Léon!” filled the arena as soon as the anthem was done. Someone held up a sign that simply said “Merci Léon.”

“I’m extremely proud,” Marchand said, “to be French.”

Australian gold for McEvoy, McKeown

Before Marchand’s triumph, Cameron McEvoy and Kaylee McKeown won more gold for Australia.

McEvoy touched first in the 50 freestyle, denying Caeleb Dressel a repeat in swimming’s most frantic event. McKeown followed with a victory in the 200 backstroke to become the first female swimmer to sweep the back at two straight Summer Games.

Asked if she could’ve envisioned such an accomplishment, McKeown said, “Not in a million years.”

McEvoy became the first Australian man to win gold at these games, and McKeown quickly boosted her country’s total to an Olympics-leading seven golds overall — three more than both the U.S. and Marchand, who is essentially a country unto himself.

McKeown noted what an amazing time this is for women’s sports, following in the footsteps of athletes such as Simone Biles and Caitlin Clark in raising the profile of female athletes.

“Not just the Aussie girls, but the whole world and female sports has been unreal this year,” McKeown said.

McEvoy made it from one end of the pool to the other in 21.25, edging Benjamin Proud of Britain by five-hundredths of a second. Florent Manaudou of France gave the home crowd another thrill by taking the bronze in 21.56.

Dressel, who won five gold medals at the Tokyo Olympics, finished sixth in 21.61.

McKeown rallied again, just as she did in the 100 backstroke, to chase down perennial American runner-up Regan Smith. The winning time was an Olympic record of 2:03.73, breaking the mark that Missy Franklin set at the 2012 London Games.

Another silver for Regan Smith

Smith touched in 2:04.26 for the fifth silver medal of her career, to go along with a single bronze. She has yet to win gold.

The bronze went to Canada’s Kylie Masse in 2:05.57.

Smith insisted that she was satisfied with the result, even though a gold medal remained just out of reach.

“That’s one of my fastest times ever. I think I really gave Kaylee a run for it and I made things really close and exciting. So I’m thrilled with it.”

Dressel comes up short

The American star qualified in two individual events, and he won’t be winning a medal in either of them.

Shortly after his sixth-place showing in the 50 freestyle, he returned to the pool for the semifinals of the 100 butterfly — another of the events he won in Tokyo.

Dressel couldn’t pull off the grueling double, managing only the 13th-fastest time to miss out on the final Saturday night.

He did anchor the U.S. to gold in the 4×100-meter freestyle relay for the eighth gold medal of his career.

It was a disappointing showing for one of the biggest stars of the Tokyo Games, but not all that unexpected given what he’s been through.

A year after the pandemic-delayed 2021 Olympics, Dressel walked away from swimming in the middle of the world championships.

He desperately needed a break to recapture his love of swimming, which is still a bit of a work in progress. Dressel seems much happier now, welcoming his first child about five months ago, but he couldn’t recapture that blazing speed from three years ago.

“Obviously not my best work,” Dressel said. “I’ve had a lot of fun, but this hasn’t been my best week. I don’t think I need to shy away from that.”

He has one more relay to go in Paris, giving him another shot at his ninth career gold.

Dressel would like to go out on a high note, because these Games have been “a little heartbreaking, a little heartbreaking for sure.”

After leaving the pool deck, he broke down in tears.
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EAUBONNE, France — Growing up in cutthroat New York gave Lauren Scruggs the competitive mindset needed to claim an unexpected fencing silver medal on her Olympic debut in Paris.

The 21-year-old Queens native shared the podium with fellow American Lee Kiefer, who retained her Olympic title in the women’s individual foil event gold medal bout on Sunday.

“I’ve grown up in New York my whole life. It can be kind of rough sometimes,” Scruggs, the first Black American fencer to win an Olympic medal in a women’s individual event, told Reuters.

“You develop a hard shell, and in terms of how that translates to my fencing, I think it came out, that energy and that toughness.”

When Scruggs found herself neck-and-neck with then world No. 2 Arriana Errigo in the quarterfinals, she managed to score the last touch, knocking out the Italian 15-14.

“I think that was my toughest bout of the day in terms of energy, and going past my limits, and I have definitely New York to thank for that,” said Scruggs, one of the rare Black fencers at the highest level.

“Fencing is predominantly white, I think for a multitude of reasons, it’s just the history of the sport, and the lack of representation and encouragement,” she explained.

“To have this accomplishment is a big deal for me, because when I was younger I only had a few people to look up to in the sport, so to be someone that little kids now can look up to is very special to me.”

They can draw inspiration from her impressive grit, which coach Sean McClain described in the U.S. training venue in Eaubonne, in the outskirts of Paris, saying that since she was eight, Scruggs only cared about winning medals.

“And she’s maintained that distaste for losing her entire career,” he said. “I really think in an event like the Olympics, it’s more about how you compete.”

Expensive sport

Born in the U.S. to Jamaican immigrants, Scruggs grew up in Queens with her mother and grandmother.

“I was in a single-parent household early on, so my family had to basically cut some corners around here and there to support us,” said Scruggs, whose brother was the first to get into fencing and inspired her to take up the sport.

Now a college student at Harvard, where she trains every day, Scruggs had to fight to make it into a “pretty expensive” sport.

“It was not easy growing up, trying to fence while being from where I’m from, just income-wise,” she said.

“If you have the funds, it makes it a lot easier to pursue the sport and feel comfortable asking that from your family.

“But if you’re coming from a lower-income background, it might push you harder. And I think it’s what happened with me. I just wanted it more than my peers.”

On paper, Scruggs did not have a big medal chance, but she showed her mettle at the Grand Palais arena.

“Fencing skill wise, Lauren is on par with the better fencers in the world, but she’s not better than them. What made the difference was that competitiveness,” said McClain, who has also become Scruggs’ stepfather.

“That comes from my wife,” he added. “I knew it was possible, but I didn’t really think Lauren was going to win a medal in her first Olympics. But my wife did. She was like, she’d better win a medal. So that’s where it comes from — that’s the fiery spirit!”

With Kiefer and alongside teammates Jackie Dubrovich and Maia Weintraub, Scruggs will represent the U.S. against China on Thursday in the quarterfinals of the women’s foil team event.

Scruggs is aiming for gold this time and is dreaming already of qualifying for the next Games, which will take place in Los Angeles in four years’ time.

“I can’t imagine myself not fencing,” she said. “It’s not even love, it’s just a part of me. It’s connected to who I am,” she said. 
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Paris — As a gay youth growing up in central France, Hugo Bardin never felt he lived in a world that represented who he was — a world in which he had a place.

And that is why Bardin, who performs as the drag queen Paloma, felt it was meaningful and important to be part of a Paris Olympics opening ceremony that presented a multifaceted, multiethnic France with people of different ethnicities and orientations.

“It was a really important moment for the French people and the representation of France around the world,” says Paloma, who took part in a single scene that has drawn some furious criticism — including from presidential candidate Donald Trump in the United States, who called it “a disgrace.”

Although the ceremony’s artistic director, Thomas Jolly, and other participants have repeatedly said the scene wasn’t inspired by “The Last Supper,” critics interpreted that part of the show as a mockery of Leonardo Da Vinci’s painting showing Jesus Christ and his apostles. 

Paloma, best known for winning “Drag Race France,” appeared with other drag artists and dancers alongside Barbara Butch, a popular DJ who wore a silver headdress that looked like a halo. Butch has now filed a complaint alleging online abuse and harassment, and Paris police have launched an investigation.

Paloma is not, at this point, planning to take legal action over online harassment, and would prefer to focus on the many “loving messages” that have been pouring in. The performer been getting thousands of messages daily, she told The Associated Press, most of them positive but some that he described as “violent” and even “from the Middle Ages.”

Still, there are no misgivings, despite the backlash. Paloma said she was proud to have been part of a show that did not rely on a series of French cliches — for example, “the Parisian with a baguette under their arm.”

“It could have been a postcard from 1930,” she said of the ceremony. “But instead, it was a photograph of France in 2024.”

Many agreed, and praised the ceremony for its creativity, style and showmanship.

But French Catholic bishops and others were among those who said Christians had been offended, though Paris Olympics organizers have said there was “never an intention to show disrespect to any religious group” but rather to “celebrate community tolerance.”

Trump was asked on Fox News what he thought of the so-called “Last Supper” scene. “I’m very open-minded,” the former president and current Republican nominee told host Laura Ingraham, “but I thought what they did was a disgrace.”

Of Trump’s comments, Paloma said: “My first reaction is to say that if Donald Trump is not reacting, then we have not done our job.”

The criticism, she said, has been fueled by hate. “Where is the Catholicism, the Christianity in that? It is very hypocritical that their message is not about religion or kindness, it’s about hate towards Jews, fat people, queer people and trans people.”

“We have been accused of trying to impose our vision on the world,” Bardin said. “We are not. … We just want to let people know that we have a place in the world, and we are claiming that place.”

Paloma spoke to the AP in a phone interview and later at her Paris workshop, a studio devoted to her drag performance. Bardin debuted the drag queen persona some five years ago, the Spanish name inspired by the films of Pedro Almodóvar.

Asked if she had any regrets, Paloma replied: “My only regrets is people’s reactions. I’m sorry if people are offended but we did not try to parody, to mock ‘The Last Supper.’ It was not the point. So I can’t regret what I did. I’m sorry for people to only see things in a bad way.”

She added: “Maybe change the perspective. Change the point of view. Try to see the beauty in what we did. Because it was just beauty. It was just only about beauty and reunion, and reparation.” 
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Midyat, Turkey — Through a basement door in southeastern Turkey lies a sprawling underground city — perhaps the country’s largest — which one historian believes dates back to the ninth century before Jesus Christ.

Archaeologists stumbled upon the city-under-a-city “almost by chance” after an excavation of house cellars in Midyat, near the Syrian border, led to the discovery of a vast labyrinth of caves in 2020.

Workers have already cleared more than 50 subterranean rooms, all connected by 120 meters of tunnel carved out of the rock.

But that is only a fraction of the site’s estimated 900,000-square-metre area, which would make it the largest underground city in Turkey’s southern Anatolia region.

“Maybe even in the world,” said Midyat conservation director Mervan Yavuz who oversaw the excavation.

“To protect themselves from the climate, enemies, predators and diseases, people took refuge in these caves which they turned into an actual city,” Yavuz added.

The art historian traces the city’s ancient beginnings to the reign of King Ashurnasirpal II, who ruled the Neo-Assyrian Empire from 883 to 859 BC.

At its height in the seventh century BC, the empire stretched from The Gulf in the east to Egypt in the west.

Referred to as Matiate in that period, the city’s original entrance required people to bend in half and squeeze themselves into a circular opening.

It was this entrance that first gave the Midyat municipality an inkling of its subterranean counterpart’s existence.

“We actually suspected that it existed,” Yavuz recounted as he walked through the cave’s gloom.

“In the 1970s, the ground collapsed and a construction machine fell down. But at the time we didn’t try to find out more, we just strengthened and closed up the hole.”

A hiding place underground

The region where the cave city is located was once known as Mesopotamia, recognized as the cradle of some of the earliest civilizations in the world.

Many major empires conquered or passed through these lands, which may have given those living around Matiate a reason to take refuge underground.

“Before the arrival of the Arabs, these lands were fiercely disputed by the Assyrians, the Persians, the Romans and then the Byzantines,” said Ekrem Akman, a historian at the nearby University of Mardin.

Yavuz noted that “Christians from the Hatay region, fleeing from the persecution of the Roman Empire… built monasteries in the mountains to avoid their attacks”.

He suspects that Jews and Christians may have used Matiate as a hiding place to practice their then-banned religions underground.

He pointed to the inscrutable stylized carvings — a horse, an eight-point star, a hand, trees — which adorn the walls, as well as a stone slab on the floor of one room that may have been used for celebrations or for sacrifices.

As a result of the city’s long continuous occupation, he said it was “difficult to pinpoint” exactly what at the site can be attributed to which period or group.

But “pagans, Jews, Christians, Muslims, all these believers contributed to the underground city of Matiate,” Yavuz said.

Centuries of invasions

Even after the threat of centuries of invasions had passed, the caves stayed in use, said curator Gani Tarkan.

He used to work as a director at the Mardin Museum, where household items, bronzes and potteries recovered from the caves are on display.

“People continued to use this place as a living space,” Tarkan said.

“Some rooms were used as catacombs, others as storage space,” he added.

Excavation leader Yavuz pointed to a series of round holes dug to hold wine-filled amphorae vessels in the gloomy cool, out of the glaring sunlight above.

To this day, the Mardin region’s Orthodox Christian community maintains that old tradition of wine production.

Turkey is also famous for its ancient cave villages in Cappadocia in the center of the country.

But while Cappadocia’s underground cities are built with rooms vertically stacked on top of each other, Matiate spreads out horizontally, Tarkan explained.

The municipality of Midyat, which funds the works, plans to continue the excavation until the site can be opened to the public.

It hopes the site will prove a popular tourist attraction and attract visitors to the city of 120,000.
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NEW YORK — Edna O’Brien, Ireland’s literary pride and outlaw who scandalized her native land with her debut novel “The Country Girls” before gaining international acclaim as a storyteller and iconoclast that found her welcomed everywhere from Dublin to the White House, has died. She was 93.

O’Brien died Saturday after a long illness, according to a statement by her publisher Faber and the literary agency PFD.

“A defiant and courageous spirit, Edna constantly strove to break new artistic ground, to write truthfully, from a place of deep feeling,” Faber said in a statement. “The vitality of her prose was a mirror of her zest for life: she was the very best company, kind, generous, mischievous, brave.”

O’Brien published more than 20 books, most of them novels and story collections, and would know fully what she called the “extremities of joy and sorrow, love, crossed love and unrequited love, success and failure, fame and slaughter.” Few so concretely and poetically challenged Ireland’s taboos on religion, sex and gender. Few wrote so fiercely, so sensually about loneliness, rebellion, desire and persecution. A world traveler in mind and body, O’Brien was as likely to imagine the longings of an Irish nun as to take in a man’s “boyish smile” in the midst of a “ponderous London club.”

O’Brien was an unknown about to turn 30, living with her husband and two small children outside of London, when “The Country Girls” became one of Ireland’s most polarizing works of fiction in memory. Written in just three weeks and published in 1960, for an advance of roughly $75, “The Country Girls” follows the lives of two young women — Caithleen (Kate) Brady and Bridget (Baba) Brennan journey from a rural convent to the risks and adventures of Dublin. Admirers were as caught up in their defiance and awakening as would-be censors were enraged by such passages as “He opened his braces and let his trousers slip down around the ankles” and “He patted my knees with his other hand. I was excited and warm and violent.”

Fame, wanted or otherwise, was O’Brien’s ever after. Her novel was praised and purchased in London and New York while back in Ireland it was labeled “filth” by Minister of Justice Charles Haughey and burned publicly in O’Brien’s home town of Tuamgraney, County Clare. Detractors also included O’Brien’s parents and her husband, the author Ernest Gebler, from whom O’Brien was already becoming estranged.

O’Brien would be recognized well beyond the world of books. The 1980s British band Dexy’s Midnight Runners” named her alongside Eugene O’Neill, Samuel Beckett and Oscar Wilde among others in the literary tribute “Burn It Down.” She dined at the White House with then-first lady Hillary Rodham Clinton and Jack Nicholson and befriended Jacqueline Kennedy, whom she remembered as a “creature of paradoxes. While being private and immured she also had a hunger for intimacy — it was as if the barriers she had put up needed at times to be battered down.”

O’Brien’s other books included the novels “August Is a Wicked Month,” the story of a woman’s sexual liberation that was banned in parts of Ireland; “Down By The River,” based on a true story about a teenage Irish girl who becomes pregnant after being raped by her father, and autobiographical “The Light of Evening,” in which a famous author returns to Ireland to see her ailing mother. Her most recent work, “Girl,” a novel about victims of Boko Harem, came out in 2019.

Josephine Edna O’Brien was one of four children raised on a farm where “the relics of riches remained. It was a life full of contradictions. We had an avenue, but it was full of potholes; there was a gatehouse, but another couple lived there.” Her father was a violent alcoholic, her mother a talented letter writer who disapproved of her daughter’s profession, quite likely out of jealousy. Lena O’Brien’s hold on the author’s imagination, the force of her regrets made her a lifelong muse and a near stand-in Ireland itself, “the cupboard with all things in it, the tabernacle with God in it, the lake with the legends in it.”

By her early 20s, she was working in a pharmacy in Dublin and reading Tolstoy, Thackeray and O’Connor among others in her spare time. She had dreams of writing since sneaking out to the nearby fields as a child to work on stories, but doubted the relevance of her life until she read a biography of James Joyce and learned that “Portrait Of An Artist As a Young Man” was autobiographical. She began writing fiction that ran in the literary magazine The Bell and found work reviewing manuscripts for the publishing house Hutchinson, where editors were impressed enough by her summaries to commission what became “The Country Girls.”

“I cried a lot writing ‘The Country Girls,’ but scarcely noticed the tears. Anyhow, they were good tears. They touched on feelings that I did not know I had. Before my eyes, infinitely clear, came that former world in which I believed our fields and hollows had some old music slumbering in them, centuries old,” she wrote in her memoir.

“The words poured out of me, and the pen above the paper was not moving fast enough, so that I sometimes feared they would be lost forever.”
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CHADDS FORD, Pa. — At first glance, it looks like an aerial photo of a cemetery destroyed by war, with charred coffins ripped from broken concrete vaults and arched marble tombstones flattened by a bomb blast.

Then, the viewer begin to discern details: the coffins and vaults are actually parts of a keyboard. Instead of names and dates, the apparent tombstones are inscribed with words like “vibrato” and “third harmonic.”

“It looks like a graveyard,” photographer Frank Stewart said.

Stewart’s ghostly photograph of a New Orleans church organ ravaged by the floodwaters of Hurricane Katrina is part of a career retrospective of his decades documenting Black life in America and exploring African and Caribbean cultures.

“Frank Stewart’s Nexus: An American Photographer’s Journey, 1960s to the Present,” is on display at the Brandywine Museum of Art through Sept. 22. Brandywine is the fourth and final stop for the exhibition, which was organized by The Phillips Collection in Washington, D.C., and the Telfair Museums in Savannah, Georgia.

“I wanted to talk about the Black church and what influence they had on the culture,” Stewart said of his post-Katrina work in New Orleans. “This organ, the music and everything corresponds. It all comes together. I just wanted to show the devastation of churches and the music and the culture.”

Music is elemental to Stewart’s practice. He was the long-time photographer for the Savannah Music Festival, and for 30 years he was the senior staff photographer for Jazz at Lincoln Center Orchestra, which paired him with artistic director and Grammy-winning musician Wynton Marsalis.

“He’s like my brother,” said Stewart, whose exhibition includes “Stomping the Blues,” a 1997 photograph of Marsalis leading his orchestra off the stage during a world tour of his Pulitzer Prize-winning jazz oratorio “Blood on the Fields.”

Stewart, who was born in Nashville, Tennessee, and grew up in Memphis, Tennessee, and Chicago, has his own ties to jazz and blues. His stepfather, Phineas Newborn Jr., was a pianist who worked with the likes of musicians Lionel Hampton, Charles Mingus and B.B. King.

Describing himself as a child of the “apartheid South,” Stewart has drawn inspiration from photographers such as Ernest Cole and Roy DeCarava, who was among Stewart’s instructors at New York’s Cooper Union, where Stewart received a bachelor of fine arts degree. DeCarava’s photographs of 1950s Harlem led to a collaboration with Langston Hughes on the 1955 book, “The Sweet Flypaper of Life.”

Cole, a South African photographer, achieved acclaim in 1967 with “House of Bondage,” the first book to inspire Stewart. It chronicled apartheid using photographs he smuggled out of the country. Cole was never able to replicate his early success and fell on hard times before dying at age 49 in New York City. A documentary about him, “Ernest Cole: Lost and Found,” premiered at this year’s Cannes Film Festival.

“He came to New York and he was homeless in New York, so I would see him on the street and we would talk,” said Stewart, who is quick to draw a distinction between his work and Cole’s.

“I consider myself an artist more than a documentarian,” explained Stewart, who attended the School of the Art Institute of Chicago before enrolling at Cooper Union and was a longtime friend and collaborator of artist Romare Bearden.

That’s not to say Stewart doesn’t have journalistic instincts in his blood. He recounts a work history that includes the Chicago Defender, the largest Black-owned daily in the country at the time, and stringing for Ebony, Essence and Black Enterprise magazines. He looks back less fondly on a short stint of large-format work photographing fine art for brochures and catalogs, an undertaking he described as “tedious.”

Through it all though, Stewart has maintained an artistic approach to his work, looking to combine pattern, color, tone and space in a visually appealing manner while not leaving the viewer searching for the message.

“It has to still be ‘X marks the spot,'” he explained. “It still has to be photographic. It can’t be just abstract.”

Or maybe it can. How else to explain the color and texture seen in “Blue Car, Havana” from 2002?

“It’s all about abstract painting,” Stewart said in wall text accompanying the photo.

The retrospective shines a light on how Stewart’s work has evolved over time, from early black-and-white photographs to his more recent prints, which feature more color.

“It’s two different languages,” he said. “English would be the black and white. French would be the color.”

“I worked in color the whole time, I just didn’t have the money to print them,” he added.

While photography can inform people about the world around them, Stewart has noted there is a gulf between the real world and a photograph.

“Reality is a fact, and a photograph is another fact,” he explained. “The map is not the territory. It’s just a map of the territory.”
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HOUSTON — The gold bikini-style costume that Carrie Fisher wore as Princess Leia while making “Return of the Jedi” in the “Star Wars” franchise has sold for $175,000, according to the auction house that handled the sale.

The costume was made famous when Fisher wore it at the start of the 1983 film when Leia was captured by Jabba the Hutt at his palace on Tatooine and forced to be a slave.

The costume, one of the most memorable in the ” Star Wars ” movies, was sold on Friday by Dallas-based Heritage Auctions.

Joe Maddalena, Heritage’s executive vice president, said the costume that was sold was one that was screen tested and worn by Fisher on the movie’s set but ultimately did not make it onto the final version of the film as it was switched out for one that was more comfortable.

The auction house said the costume sparked a bidding war among collectors.

Maddalena said he wasn’t surprised by the attention bidders gave to the costume as well as to a model of a Y-wing fighter that took on the Death Star in the original “Star Wars” film that sold for $1.55 million. He said “Star Wars” and “Star Trek” have very avid fan bases.

“The power of ‘Star Wars’ proves itself again. These movies are just so impactful,” Maddalena said.

In a November 2016 interview with NPR’s “Fresh Air,” Fisher said wearing the costume was not her choice.

“When (director George Lucas) showed me the outfit, I thought he was kidding and it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight,” said Fisher, who died about a month after the interview.

Richard Miller, who created the costume, said in an interview that’s included in a “Star Wars” box set that he used soft material to build the costume so that Fisher could move around more freely.

“However, she still didn’t like it. I don’t blame her,” said Miller, who was the chief sculptor for Industrial Light & Magic, the visual effects company founded by “Star Wars” creator George Lucas. “I did put leather on the back of it to help it feel better.”

The costume had its share of critics, who thought it sexualized Fisher for the franchise’s male fan base.

In “Interview” magazine in 2015, Fisher told actor Daisy Ridley, who starred in “Star Wars: The Force Awakens,” “You’re going to have people have fantasies about you. That will make you uncomfortable, I’m guessing.” She pushed back against the idea of being a sex symbol and told Ridley to “fight for your outfit.”
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