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Tag: arts and entertainment

  • Don Lemon to return to ‘CNN This Morning’ after training

    Don Lemon to return to ‘CNN This Morning’ after training

    NEW YORK — Anchor Don Lemon will return to work Wednesday after he receives formal training for his comments about Republican presidential candidate Nikki Haley on “CNN This Morning,” network CEO Chris Licht said in an email to employees Monday night.

    Lemon has not been on the air since Thursday, when during a discussion on “CNN This Morning” about the ages of politicians he said that the 51-year-old Haley was not “in her prime.” A woman, he said, was considered in her prime “in her 20s, 30s and maybe her 40s.”

    Challenged by co-host Poppy Harlow, Lemon added: “Don’t shoot the messenger, I’m just saying what the facts are.”

    “I sat down with Don and had a frank and meaningful conversation,” Licht wrote in a memo. “He has agreed to participate in formal training, as well as continuing to listen and learn. We take this situation very seriously,” CNN Business reported.

    Lemon has since apologized, but he has been widely condemned, including by Licht. According to The New York Times, Licht chastised Lemon during an editorial call Friday, saying his remarks were “upsetting, unacceptable and unfair” and a “huge distraction.”

    “When I make a mistake, I own it,” Lemon said. “And I own this one as well.”

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  • Mardi Gras ebullience intersects with crime worry, politics

    Mardi Gras ebullience intersects with crime worry, politics

    NEW ORLEANS — New Orleans’ annual Carnival season entered its ebullient crescendo Tuesday with thousands of revelers expected to pack the French Quarter and line miles of parade routes in a citywide Mardi Gras celebration underpinned this year by violent crime concerns and political turmoil.

    Gunfire that broke out during a parade Sunday night left a teenager dead and four others injured, including a 4-year-old girl. Police quickly arrested Mansour Mbodj, 21, for illegally carrying a weapon, then upgraded the charge to second-degree murder.

    Officials stressed Monday that the shooting was an isolated event.

    The violence appeared to have little effect on Monday night crowds. St. Charles Avenue, including the area where gunfire broke out, was again lined with people dancing, drinking and eating in a football tailgate atmosphere as they awaited the evening’s parades. The French Quarter was packed with partiers wandering among bars, restaurants and strip clubs.

    Revelers shrugged off crime at an afternoon riverside park event celebrating this year’s king and queen of the Zulu Social Aid and Pleasure Club.

    “I think whatever it was, it was a private dispute that happened in a public place,” said Chris Flug of New Orleans, referencing the Sunday night shooting. “It’s always sad when gun violence takes a life, but it shouldn’t taint the city or the event. You can’t predict people’s behavior.”

    Crime has contributed to dissatisfaction with Mayor LaToya Cantrell. She won re-election easily in 2021, but has suffered a myriad of political problems since, including criticism about crime, the slow pace of major street repairs and questions over her personal use of a city-owned French Quarter apartment.

    A recall petition launched last year is nearing a Wednesday deadline. One of the organizers, Eileen Carter, said she believes the movement has enough signatures, but will make a last-minute push.

    “We’re going to have people canvassing the parade routes,” Carter said. “That’s been really helpful to us.”

    Fueling the political tumult: Cantrell was captured in a social media video gesturing with her middle-finger as a parade passed by a city reviewing stand over the weekend. What sparked the gesture was unclear. The mayor’s press office did not respond to a request for comment from The Associated Press. A statement given to The Times-Picayune/The New Orleans Advocate shed little light.

    “Mardi Gras is a time where satire and jest are on full display,” spokesperson Gregory Joseph said in a prepared statement. “The city has been enjoying a safe and healthy Carnival,” the statement said, adding that the mayor was looking forward to continuing the celebration.

    Mardi Gras, or Fat Tuesday, is the culmination of Carnival season, which officially begins each year on Jan. 6, the 12th day after Christmas, and closes with the beginning of Lent on Ash Wednesday.

    New Orleans’ raucous celebration is the nation’s most well-known, but the holiday is also celebrated throughout much of Louisiana and the Gulf Coast. Mobile, Alabama, lays claim to the oldest Mardi Gras celebration in the country.

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  • Egypt unveils renovated wing of oldest museum, new papyrus

    Egypt unveils renovated wing of oldest museum, new papyrus

    CAIRO — Egypt’s ministry of tourism and antiquities unveiled a renovated wing of its oldest museum Monday, home to a 16-meter (52-foot) -long scroll unearthed last year.

    The refurbishment marks the first stage of broader renovations for the 120-year-old salmon-colored palatial complex in downtown Cairo, opposite the capital’s famed Tahrir Square.

    Waziry Papyrus, the centerpiece of Monday’s unveiling, contains around 113 spells from the Book of the Dead. The museum also has added modern glass protection and new interior lighting.

    The opening ceremony of the upgraded wing was led by Egypt’s Minister of Tourism and Antiquities Ahmed Eissa.

    For well over a decade, Egypt has been building a state-of-the-art museum near the pyramids which is set to house tens of thousands of ancient artefacts. The Grand Egyptian Museum has so far cost over $1 billion and its opening date has been repeatedly delayed.

    Egypt often publicly touts ancient discoveries to attract more tourists, a major source of foreign currency for the cash-strapped North African country. The sector suffered a long downturn after the political turmoil and violence that followed a 2011 uprising.

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  • Faux fur, hot water bottles at Burberry’s new London show

    Faux fur, hot water bottles at Burberry’s new London show

    LONDON — British luxury brand Burberry unveiled its first catwalk show under new creative director Daniel Lee at London Fashion Week on Monday — and there wasn’t a beige trench coat in sight.

    The heritage brand is best known for its elegant, functional trench coats invented during World War I. But Lee, who joined Burberry in September, took the fashion house in a brand-new direction with a debut collection featuring faux fur and feathers, slogan T-shirts and playful duck prints.

    The 37-year-old British designer was credited with revitalizing Italian luxury brand Bottega Veneta with hugely popular accessories like shoes and handbags during his tenure there, and many in the fashion industry were keen to know if he could work the same magic at Burberry.

    Burberry CEO Jonathan Akeroyd said last year that he was banking on Lee’s flair to significantly grow the brand’s accessories sales and “dial up on Britishness in a modern way.”

    At Monday’s show, the brand’s signature check pattern appeared in purple, bottle green and maroon on everything from men’s suits to knitwear, skirts, tights and woolly scarves.

    Lee seemed to underline a theme of coziness in the face of British weather: One model was draped in a large white blanket emblazoned with the brand’s heritage equestrian knight design, and many of the models clutched hot water bottles with a check print that matched their outfits. Dramatic, oversized faux fur hats and bags adorned with feathers and fur also featured prominently.

    Male models wore low-slung, baggy trousers worn with skin-tight polo neck tops, and silver chains and hardware, paired with a red and black palette, hinted at a punk-inspired aesthetic. But there were humorous touches, too, such as a woolly trapper hat topped with a knitted duck head.

    The show drew celebrities including film director Baz Luhrmann, rapper Stormzy and models Naomi Campbell and Rosie Huntington-Whiteley to its front row.

    Burberry is traditionally the biggest draw at London Fashion Week, which also showcases catwalk shows by designers including Christopher Kane, Erdem, Emilia Wickstead and Roksanda Ilincic.

    The London displays wrap up on Tuesday, when the fashion crowd decamps to Milan Fashion Week for more new season runway shows.

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  • Dudamel on New York: ‘I keep that wild, wild animal Gustavo’

    Dudamel on New York: ‘I keep that wild, wild animal Gustavo’

    Gustavo Dudamel’s focus on hair was apparent on his first day at the New York Philharmonic as heir apparent.

    The 42-year-old conductor, famous for his bushy locks, magnetic personality and an ability to boost audiences, thought back to his 2007 debut with the orchestra.

    “I came here still with black hair,” Dudamel said during a news conference Monday on the stage of David Geffen Hall, “And then immediately it was a connection — it was an artistical, deep, soul connection.”

    His once-dark tresses were closely cropped and salt-and-pepper speckled. Dudamel talked about his maturation as he prepares to become music director for the 2026-27 season.

    “When I was 24 — 23, 24, 25 — it was crazy. I was a wild animal, not only because my hair was huge,” he said. “Right now, yes, I’m not anymore a young promise, but I’m still young. … With the time, with experience, you change a lot, but I keep that wild, wild animal Gustavo that is always there — and only with less hair now.”

    Dudamel, the first Latino to lead the oldest of the major American orchestras, recalled growing up in Venezuela.

    “My father played the trombone in a salsa band,” he said. “I wanted to play salsa. That was my dream as a kid. At the beginning, I was not dreaming about the symphony orchestra.”

    He enrolled in El Sistema, Venezuela’s music education program, at a young age. Showing charm and humor, he spoke at Monday’s news conference about how he conducted the New York Philharmonic when he was 8 or 9 — while listening to recordings.

    “At home, for my family. For a good audience — for my puppets,” Dudamel said. “I rehearsed. I said, ‘This is not good.’”

    His first trip to New York was in 1995 with Venezuela’s national student orchestra.

    “We were blessed because we came for only one night,” he said. “There was a storm, a snowstorm, and we had to stay one more day.”

    Dudamel became music director of the Simón Bolívar Symphony Orchestra in 1999. served as principal conductor of Sweden’s Gothenburg Symphony Orchestra from 2007-12 and took over as music director of the Los Angeles Philharmonic for the 2009-10 season. He announced Feb. 7 he will give up the LA role in 2026 when he assumes the New York podium from Jaap Van Zweden, who departs after the 2023-24 season.

    Wearing a suit and dress shirt but no tie as he sat beside New York Philharmonic CEO Deborah Borda, Dudamel said the city “can enrich my soul, my spirit as an artist and as a citizen of the world.”

    Dudamel cited José Antonio Abreu, Daniel Barenboim, Claudio Abbado and Simon Rattle as mentors. He name-checked many predecessors as New York music director, including Leonard Bernstein, whose baton Dudamel accidently broke during his debut run.

    About 30 musicians from the New York Philharmonic attended the news conference and a reception after, welcoming Dudamel with hugs and handshakes. When he guest-conducted the orchestra last May, the players gave him Widow Jane bourbon from Brooklyn as part of the wooing.

    Dudamel, who currently calls Barcelona home, spoke fluently English and Spanish, at one point quipping: “I wanted to answer in Italian.”

    He hopes to change a mentality that classical music “is is only for rich people.”

    “Young people get afraid (of) classical, because this feels a little bit like the old car or vintage,” he said. “Music is made in the moment. Even if Beethoven wrote … in 1807 a symphony, this music that we are playing is happening right now, so it’s not any more music from that time; it’s music from this time.”

    After at first declining to speak of Venezuela’s economic and political turmoil, Dudamel criticized his nation’s government in 2017 for suppressing protests. Venezuela President Nicolás Maduro then canceled the Simón Bolívar Symphony Orchestra’s U.S. tours.

    “I have nothing at present physically with the orchestra. We have been in contact all the time,” Dudamel said. “The orchestra is in amazing shape. I had the chance to see them a few months ago. It’s my orchestra. It’s my family. … I hope in the near future we will be doing thousands of things again together.”

    Dudamel pushed for the 2007 establishment of the Youth Orchestra Los Angeles. At Monday’s news conference, he sidestepped whether he hoped for a similar program in New York and said he would have to learn more about the community.

    He tried to avoid answering whether he would root for the Yankees or Mets.

    “Cardenales,” Dudamel said, referring to the Venezuela team from his hometown of Barquisimeto. “I played a lot of baseball. I was good.”

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  • 5-year firearms enhancement dropped in Baldwin shooting case

    5-year firearms enhancement dropped in Baldwin shooting case

    The prosecution in the case of a fatal New Mexico film-set shooting made a stark turnaround Monday, dropping the possibility of a mandatory five-year sentence against Alec Baldwin, new court filings show.

    The actor-producer’s attorneys had earlier objected to the enhancement, saying it was unconstitutional because it was added after the October 2021 shooting. Legal experts had said Baldwin had a strong chance of seeing it tossed out.

    “The prosecutors committed a basic legal error by charging Mr. Baldwin under a version of the firearm-enhancement statue that did not exist on the date of the accident,” Baldwin’s attorneys said in an earlier court filing.

    Baldwin’s attorney declined to comment Monday after the reversal by prosecutors, who earlier criticized his efforts to have the sentencing requirement dropped. The related standard for the possibility of a mandatory five years would be reckless disregard of safety “without due caution and circumspection” and carried a higher threshold of wrongdoing.

    The remaining alternative standard and set of penalties in the case now requires proof of negligence, which is punishable by up to 18 months in jail and a $5,000 fine under New Mexico law.

    Heather Brewer, spokesperson for the New Mexico First Judicial District Attorney’s Office, said in an email earlier this month that the prosecution’s focus “will remain on ensuring that justice is served and that everyone — even celebrities with fancy attorneys — is held accountable under the law.”

    Baldwin and Hannah Gutierrez-Reed, the weapons supervisor on the set of the film “Rust,” were charged last month with felony involuntary manslaughter in the shooting death of cinematographer Halyna Hutchins, who died shortly after being wounded during rehearsals at a ranch on the outskirts of Santa Fe.

    Authorities said Baldwin was pointing a pistol at Hutchins when the gun went off, killing her and wounding director Joel Souza.

    Hutchins’ parents and sister have filed a lawsuit over the shooting after a similar suit filed by her husband and son was settled.

    Production that was halted by the shooting is expected to resume this spring. Rust Movie Productions said Hutchins’ widower, Matthew Hutchins, will be the film’s new executive producer with Blanca Cline as the new cinematographer.

    Rust Movie Productions said last week a related documentary will detail the completion of the film and the life of Halyna Hutchins.

    Souza will return as director when production resumes, although it’s unclear in what state the filming will take place.

    Rust Movie Productions officials said the use of “working weapons” and “any form of ammunition” will be prohibited on the movie set.

    ___

    Associated Press writer Andrew Dalton contributed reporting from Los Angeles.

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  • Embattled Don Lemon absent Monday from ‘CNN This Morning’

    Embattled Don Lemon absent Monday from ‘CNN This Morning’

    NEW YORK — Amid ongoing criticism over his comments about Republican presidential candidate Nikki Haley, Don Lemon was absent Monday from “CNN This Morning.” Co-host Poppy Harlow told viewers that “Don has the day off.”

    Lemon has not been on the air since Thursday, when during a discussion on “CNN This Morning” about the ages of politicians he said that the 51-year-old Haley was not “in her prime.” A woman, he said, was considered in her prime “in her 20s, 30s and maybe her 40s.”

    Challenged by Harlow, Lemon added: “Don’t shoot the messenger, I’m just saying what the facts are.”

    Lemon has since apologized, but he has been widely condemned, including by CNN CEO Chris Licht. According to The New York Times, Licht chastised Lemon during an editorial call Friday, saying his remarks were “upsetting, unacceptable and unfair” and a “huge distraction.”

    A CNN spokesperson had no immediate comment on whether Lemon would be back Tuesday.

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  • Leiji Matsumoto, creator of ‘Space Battleship Yamato,’ dies

    Leiji Matsumoto, creator of ‘Space Battleship Yamato,’ dies

    TOKYO — Leiji Matsumoto, the anime creator known for ”Space Battleship Yamato” and other classics using a fantastical style and antiwar themes, has died at age 85.

    His manga works “Galaxy Express 999” and “Space Pirate Captain Herlock” were adapted into television anime series in the 1970s and became huge hits in and outside Japan.

    Matsumoto, whose real name was Akira Matsumoto, died of acute heart failure in a Tokyo hospital on Feb. 13, his office, Studio Leijisha, said Monday.

    Born in the southwestern city of Kurume, Matsumoto started drawing at age 6, and rose to fame with “Otoko Oidon,” a manga series telling the story of a poor man from southern Japan who lives in a boarding house in Tokyo and struggles to balance work and studying.

    Many of his manga were in the “battlefield comics” genre with more than 150 stories depicting tragedy of war.

    His antiwar theme comes from his father, an elite army pilot who returned from Southeast Asia and taught his son that war should never be fought.

    In his interview with Japan’s NHK television in 2018, Matsumoto recalled seeing his father apologize to the mothers of his subordinates for not being able to bring them back alive. His father also told Matsumoto that one had to be a demon to not think an enemy has a family.

    “War destroys your future,” Matsumoto said in the interview, noting that many talented youths who might have contributed to “the civilization of mankind” were killed during war.

    “I was told by my father that any life is born in order to live, not to die,” Matsumoto said. “I think we should not be wasting time fighting on the Earth.”

    Matsumoto received several cultural and arts awards from the Japanese government, and the Knight of the Order of Arts and Letters from France.

    Matsumoto’s daughter Makiko Matsumoto, who heads the studio, said in a statement released on Twitter: “Manga artist Leiji Matsumoto set out on a journey to the sea of stars. I think he lived a happy life, thinking about continuing to draw stories as a manga artist.”

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  • Ant-Man opens big at box office with $104M for ‘Quantumania’

    Ant-Man opens big at box office with $104M for ‘Quantumania’

    NEW YORK — Phase five of the Marvel Cinematic Universe may have gotten off to a rocky start, but Ant-Man is bigger than ever at the box office.

    “Ant-Man and the Wasp: Quantumania” opened with $104 million in domestic ticket sales, according to studio estimates Sunday, easily surpassing the box-office debuts of the previous two Ant-Man films. The Walt Disney Co.’s “Quantumania” added another $121.3 million overseas to give the pint-sized hero a $225 million global launch.

    It’s easily the largest opening of the year so far. And “Quantumania” did so despite an atypically poor reception for the 31st MCU film. “Quantumania,” starring Paul Rudd as Ant-Man, Evangeline Lilly as the Wasp and Jonathan Majors as Kang the Conqueror, sits at 48% fresh on Rotten Tomatoes, making it the only MCU film to rank as rotten beside “The Eternals” (47%).

    Audiences also weren’t thrilled with “Quantumania,” giving it a “B” CinemaScore. “The Eternals” is the only other MCU film to receive a CinemaScore that low.

    Those scores will pose the biggest concern for Marvel as it continues to unroll phase five of the MCU, following mixed reviews for the post-“Avengers: Eternals” phase four of the comic-book franchise. Up next is “Guardians of the Galaxy Vol. 3” in May.

    But good reviews or not, theaters hope “Quantumania” — the first blockbuster of the year — is a sign of things to come. After the turmoil of the past three years, there are some 30 more wide releases planned for 2023.

    “It will feel almost in the coming weeks like a pre-pandemic moviegoing environment in terms of the marketplace,” said Paul Dergarabedian, senior media analyst for data firm Comscore. “That’s very good news coming off a very tumultuous past two, three years. This is the start of a big many months for this industry. We’ve sort of been in the waiting room with holdovers like ‘Avatar’ and others.”

    The first “Ant-Man” launched with $57.2 million domestically in 2015, the smallest opening for any movie in the MCU. It ultimately earned $519.3 million worldwide. Its sequel, “Ant-Man and the Wasp,” debuted three years later with $75.8 million and went to collect $622.7 million globally.

    China was vital for both of those releases, which each topping $100 million there. But in recent years, particularly during the pandemic, fewer American movies have secured major releases in the heavily regulated Chinese market. Not since “Avengers: Endgame” in 2019 has a Disney release opened simultaneously in the U.S. and China.

    Whether China will ever go back to those pre-pandemic numbers for U.S. movies, however, remains to be seen — especially as tensions continue to fester over the Chinese balloons surveillance program. “Quantumania” took in $19 million over the weekend in China.

    In its 10th weekend of release, James Cameron’s “Avatar: The Way of Water” remained in second place with $6.4 million. With $2.243 billion globally, Cameron’s sci-fi sequel has now just surpassed “Titanic” — currently back in theaters for its 25th anniversary — as the third-highest grossing film ever. Now, only the 2009 “Avatar” and “Avengers: Endgame” rank above “The Way of Water.”

    Last week’s top film, “Magic Mike’s Last Dance” slid to third place with $5.5 million. The Channing Tatum sequel has collected $18.1 million in two weeks.

    Landing in fourth was Universal’s “Puss in Boots: The Last Wish,” which has enjoyed an unusually long run in theaters as the top family option since late December. With $5.3 million over the weekend, it has totaled $167 million domestically and more than $400 million worldwide.

    Only one new film went into wide release against “Quantumania.” Open Road and Briarcliff Entertainment debuted “Marlowe,” with Liam Neeson playing Raymond Chandler’s classic private eye, in 2,281 locations. “Marlowe,” though, only mustered $1.9 million.

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

    1. “Ant-Man and the Wasp: Quantumania,” $104 million.

    2. “Avatar: The Way of Water,” $6.1 million.

    3. “Magic Mike’s Last Dance,” $5.5 million.

    4. “Puss in Boots: The Last Wish,” $5.3 million.

    5. “Knock at the Cabin,” $3.9 million.

    6. “80 for Brady,” $3.6 million.

    7. “Titanic,” $2.3 million.

    8. “Marlowe,” $1.9 million.

    9. “Missing,” $1.7 million.

    10. “A Man Called Otto,” $1.6 million.

    ___

    This story has been corrected to correct the rankings of “Magic Mike’s Last Dance” and “Puss in Boots: The Last Wish,” which were originally transposed.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • Richard Belzer, stand-up comic and TV detective, dies at 78

    Richard Belzer, stand-up comic and TV detective, dies at 78

    NEW YORK — Richard Belzer, the longtime stand-up comedian who became one of TV’s most indelible detectives as John Munch in “Homicide: Life on the Street” and “Law & Order: SVU,” has died. He was 78.

    Belzer died Sunday at his home in Beaulieu-sur-Mer, in southern France, his longtime friend Bill Scheft said. Scheft, a writer who had been working on a documentary about Belzer, said there was no known cause of death, but that Belzer had been dealing with circulatory and respiratory issues. The actor Henry Winkler, Belzer’s cousin, tweeted, “Rest in peace Richard.”

    For more than two decades and across 10 series — even including appearances on “30 Rock” and “Arrested Development” — Belzer played the wise-cracking, acerbic homicide detective prone to conspiracy theories. Belzer first played Munch on a 1993 episode of “Homicide” and last played him in 2016 on “Law & Order: SVU.”

    Belzer never auditioned for the role. After hearing him on “The Howard Stern Show,” executive producer Barry Levinson brought the comedian in to read for the part.

    “I would never be a detective. But if I were, that’s how I’d be,” Belzer once said. “They write to all my paranoia and anti-establishment dissidence and conspiracy theories. So it’s been a lot of fun for me. A dream, really.”

    From that unlikely beginning, Belzer’s Munch would become one of television’s longest-running characters and a sunglasses-wearing presence on the small screen for more than two decades. In 2008, Belzer published the novel “I Am Not a Cop!” with Michael Ian Black. He also helped write several books on conspiracy theories, about things like President John F. Kennedy’s assassination and Malaysia Airlines Flight 370.

    “He made me laugh a billion times,” his longtime friend and fellow stand-up Richard Lewis said Sunday on Twitter.

    Born in Bridgeport, Connecticut, Belzer was drawn to comedy, he said, during an abusive childhood in which his mother would beat him and his older brother, Len. He would do impressions of his childhood idol, Jerry Lewis. “My kitchen was the toughest room I ever worked,” Belzer told People magazine in 1993.

    After being expelled from Dean Junior College in Massachusetts, Belzer embarked on a life of stand-up in New York in 1972. At Catch a Rising Star, Belzer became a regular performer and an emcee. He made his big-screen debut in Ken Shapiro’s 1974 film “The Groove Tube,” a TV satire co-starring Chevy Chase, a film that grew out of the comedy group Channel One that Belzer was a part of.

    Before “Saturday Night Live” changed the comedy scene in New York, Belzer performed with John Belushi, Gilda Radner, Bill Murray and others on the National Lampoon Radio Hour. In 1975, he became the warm-up comic for the newly launched “SNL.” While many cast members quickly became famous, Belzer’s roles were mostly smaller cameos. He later said “SNL” creator Lorne Michaels reneged on a promise to work him into the show.

    But Belzer became one of the era’s top stand-ups. He was known especially for his biting, cynical attitude and his witty, sometime combative banter with the audience. As one of the most influential comedians of the ’70s, Belzer was a master of crowd work.

    “My style evolved from dealing with drunken people at twelve, one, two in the morning and trying to be like an alchemist and get the lead of their lives and turn it into golden jokes,” Belzer told Terry Gross on “Fresh Air.”

    Belzer would later write an irreverent self-help book titled “How to Be a Stand-Up Comic” with advice on things like how to to apologize to Frank Sinatra when you made fun of him onstage or how to deal with hecklers. One of his favorite lines was: “I have a microphone. You have a beer. God has a plan and you’re not in on it.”

    Belzer often played a stand-up comic in film, including in 1980s’ “Fame” and 1983’s “Scarface.” He had small roles here and there, including in “Night Shift” in 1982, and “Fletch Lives” in 1989. But Munch would change Belzer’s career.

    As ”Homicide” co-creator Tom Fontana said, “Munch was the spice in these dishes,” Belzer told the AV Club. “Munch was based on a real guy in Baltimore who was a star detective, in a way. He would come onto grisly murder scenes, start doing one-liners, because someone had to break the tension. So Munch served a very important function. Not only was he a dissident who said what was on his mind, he kind of had the gallows humor that’s needed in a homicide squad.”

    When “Homicide” wrapped in early 1999, Munch called Dick Wolf to see if the character could join another NBC series, “Law & Order,” where Munch had popped up in a few previous episodes. Wolf already had his leads for “Law & Order,” but he wanted Belzer to star in a spinoff. That fall, “Law & Order: SVU” premiered, with Belzer starring alongside Mariska Hargitay and Christopher Meloni in a storyline written as though Munch had transferred from Baltimore to New York.

    “Richard Belzer’s Detective John Munch is one of television’s iconic characters,” Wolf said in a statement.

    “I first worked with Richard on the ‘Law & Order’/‘Homicide’ crossover and loved the character so much,” Wolf said. “I wanted to make him one of the original characters on ‘SVU.’ The rest is history. Richard brought humor and joy into all our lives, was the consummate professional and we will all miss him very much.”

    Belzer is survived by his third wife, the actress Harlee McBride, whom he married in 1985. For the past 20 years, they lived mostly in France, in homes he purchased partially from the proceeds of a lawsuit with Hulk Hogan. In 1985, Belzer had Hogan as a guest on his cable TV talk show “Hot Properties” to perform a chin-lock on him. Belzer passed out, hit his head and sued Hogan for $5 million. They settled out of court. ___

    This story has been corrected to reflect that Belzer died in Beaulieu-sur-Mer, France, not Bozouls, as Scheft originally told The Hollywood Reporter.

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  • Ant-Man opens big at box office with $104M for ‘Quantumania’

    Ant-Man opens big at box office with $104M for ‘Quantumania’

    NEW YORK — Phase five of the Marvel Cinematic Universe may have gotten off to a rocky start, but Ant-Man is bigger than ever at the box office.

    “Ant-Man and the Wasp: Quantumania” opened with $104 million in domestic ticket sales, according to studio estimates Sunday, easily surpassing the box-office debuts of the previous two Ant-Man films. The Walt Disney Co.’s “Quantumania” added another $121.3 million overseas to give the pint-sized hero a $225 million global launch.

    It’s easily the largest opening of the year so far. And “Quantumania” did so despite an atypically poor reception for the 31st MCU film. “Quantumania,” starring Paul Rudd as Ant-Man, Evangeline Lilly as the Wasp and Jonathan Majors as Kang the Conqueror, sits at 48% fresh on Rotten Tomatoes, making it the only MCU film to rank as rotten beside “The Eternals” (47%).

    Audiences also weren’t thrilled with “Quantumania,” giving it a “B” CinemaScore. “The Eternals” is the only other MCU film to receive a CinemaScore that low.

    Those scores will pose the biggest concern for Marvel as it continues to unroll phase five of the MCU, following mixed reviews for the post-“Avengers: Eternals” phase four of the comic-book franchise. Up next is “Guardians of the Galaxy Vol. 3” in May.

    But good reviews or not, theaters hope “Quantumania” — the first blockbuster of the year — is a sign of things to come. After the turmoil of the past three years, there are some 30 more wide releases planned for 2023.

    “It will feel almost in the coming weeks like a pre-pandemic moviegoing environment in terms of the marketplace,” said Paul Dergarabedian, senior media analyst for data firm Comscore. “That’s very good news coming off a very tumultuous past two, three years. This is the start of a big many months for this industry. We’ve sort of been in the waiting room with holdovers like ‘Avatar’ and others.”

    The first “Ant-Man” launched with $57.2 million domestically in 2015, the smallest opening for any movie in the MCU. It ultimately earned $519.3 million worldwide. Its sequel, “Ant-Man and the Wasp,” debuted three years later with $75.8 million and went to collect $622.7 million globally.

    China was vital for both of those releases, which each topping $100 million there. But in recent years, particularly during the pandemic, fewer American movies have secured major releases in the heavily regulated Chinese market. Not since “Avengers: Endgame” in 2019 has a Disney release opened simultaneously in the U.S. and China.

    Whether China will ever go back to those pre-pandemic numbers for U.S. movies, however, remains to be seen — especially as tensions continue to fester over the Chinese balloons surveillance program. “Quantumania” took in $19 million over the weekend in China.

    In its 10th weekend of release, James Cameron’s “Avatar: The Way of Water” remained in second place with $6.4 million. With $2.243 billion globally, Cameron’s sci-fi sequel has now just surpassed “Titanic” — currently back in theaters for its 25th anniversary — as the third-highest grossing film ever. Now, only the 2009 “Avatar” and “Avengers: Endgame” rank above “The Way of Water.”

    Last week’s top film, “Magic Mike’s Last Dance” slid to third place with $5.5 million. The Channing Tatum sequel has collected $18.1 million in two weeks.

    Landing in fourth was Universal’s “Puss in Boots: The Last Wish,” which has enjoyed an unusually long run in theaters as the top family option since late December. With $5.3 million over the weekend, it has totaled $167 million domestically and more than $400 million worldwide.

    Only one new film went into wide release against “Quantumania.” Open Road and Briarcliff Entertainment debuted “Marlowe,” with Liam Neeson playing Raymond Chandler’s classic private eye, in 2,281 locations. “Marlowe,” though, only mustered $1.9 million.

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

    1. “Ant-Man and the Wasp: Quantumania,” $104 million.

    2. “Avatar: The Way of Water,” $6.1 million.

    3. “Magic Mike’s Last Dance,” $5.5 million.

    4. “Puss in Boots: The Last Wish,” $5.3 million.

    5. “Knock at the Cabin,” $3.9 million.

    6. “80 for Brady,” $3.6 million.

    7. “Titanic,” $2.3 million.

    8. “Marlowe,” $1.9 million.

    9. “Missing,” $1.7 million.

    10. “A Man Called Otto,” $1.6 million.

    ___

    This story has been corrected to correct the rankings of “Magic Mike’s Last Dance” and “Puss in Boots: The Last Wish,” which were originally transposed.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • Winners of the 2023 British Academy Film Awards

    Winners of the 2023 British Academy Film Awards

    LONDON — Winners of the 2023 British Academy Film Awards, announced Sunday:

    Film — “All Quiet on the Western Front”

    British Film — “The Banshees of Inisherin”

    Director — Edward Berger, “All Quiet on the Western Front”

    Actor — Austin Butler, “Elvis”

    Actress — Cate Blanchett, “Tár”

    Supporting Actor — Barry Keoghan, “The Banshees of Inisherin”

    Supporting Actress — Kerry Condon, “The Banshees of Inisherin”

    Rising Star (voted for by the public) — Emma Mackey

    Outstanding British Debut — Writer-director Charlotte Wells, “Aftersun”

    Original Screenplay — Martin McDonagh, “The Banshees of Inisherin”

    Adapted Screenplay — Edward Berger, Lesley Paterson and Ian Stokell, “All Quiet on the Western Front”

    Film Not in the English Language — “All Quiet on the Western Front”

    Musical Score — Volker Bertelmann, “All Quiet on the Western Front”

    Cinematography — James Friend, “All Quiet on the Western Front”

    Editing — Paul Rogers, “Everything Everywhere All at Once”

    Production Design — “Babylon”

    Costume Design — Catherine Martin, “Elvis”

    Sound — “All Quiet on the Western Front”

    Casting — Nikki Bartlett and Denise Chamian, “Elvis”

    Visual Effects — “Avatar: The Way of Water”

    Makeup and Hair — “Elvis”

    Animated Film — “Guillermo del Toro’s Pinocchio”

    British Short Film — “An Irish Goodbye”

    British Short Animation — “The Boy, the Mole, the Fox and the Horse”

    Documentary – “Navalny”

    BAFTA Fellowship — Sandy Powell

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  • Tom Sizemore in critical condition after brain aneurism

    Tom Sizemore in critical condition after brain aneurism

    LOS ANGELES — Tom Sizemore is in critical condition after suffering a brain aneurism, a representative for the actor said Sunday.

    Sizemore suffered the aneurism around 2 a.m. Saturday at his home in Los Angeles. He was hospitalized in intensive care, his manager Charles Lago said. Lago described Sizemore’s condition “a wait and see situation.”

    Sizemore, 61, has acted in films including “Saving Private Ryan,” “Heat” and “Black Hawk Down.” He also has had a history of drug abuse and run-ins with law enforcement.

    Sizemore was convicted of domestic violence in 2003 against his girlfriend, Heidi Fleiss. In 2006, he pleaded no contest to using methamphetamine outside a motel. Sizemore was arrested in Los Angeles in 2009 for suspected battery of a former spouse, and again in 2011 for the same offense. In 2018, a then 26-year-old actress filed a lawsuit against Sizemore, claiming he abused her as an 11-year-old during production on the film “Born Killers.” Sizemore denied it, and the suit was later dismissed.

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  • ‘All Quiet’ leads as stars, royalty attend UK film awards

    ‘All Quiet’ leads as stars, royalty attend UK film awards

    LONDON — Hollywood stars and U.K. royalty converged on London’s Royal Festival Hall on Sunday for the British Academy Film Awards, where German-language antiwar drama “All Quiet on the Western Front” leads the pack of nominees.

    The visceral depiction of life and death in the World War I trenches was up for 14 awards, including best picture. It received a handful of early awards for best adapted screenplay, cinematography, sound, score and a film not in English.

    Irish tragicomedy “The Banshees of Inisherin“ and madcap metaverse romp “Everything Everywhere All at Once” have 10 nominations each.

    “Banshees” started the night with two wins. Kerry Condon won the best supporting actress trophy, and Barry Keoghan was named best supporting actor. It also took the prize for best original screenplay.

    Actor Richard E. Grant hosted the ceremony, walking onstage in a luxurious white cape after a jokey introductory film that saw him taking advice from Steve Martin and pulling up to the concert hall in the Batmobile.

    Joking about the infamous altercation between Will Smith and Chris Rock at last year’s Oscars, Grant said, “Nobody on my watch gets slapped tonight. Except on the back.”

    “West Side Story” star Ariana DeBose opened the show by performing “Sisters are Doin’ it for Themselves,” with an added rap shoutout to some of the nominated women, including Cate Blanchett, Viola Davis and Michelle Yeoh.

    Guests and presenters walking the red carpet on the south bank of the River Thames included Colin Farrell, Ana de Armas, Eddie Redmayne, Brian Cox, Florence Pugh, Catherine Zeta-Jones, Cynthia Erivo, Julianne Moore and Lily James. Many wore blue ribbons in support of refugees and displaced people.

    Heir to the throne Prince William, who is president of Britain’s film and television academy, was in the audience alongside his wife Kate, Princess of Wales.

    Helen Mirren paid tribute to William’s grandmother, Queen Elizabeth II, who died in September. Mirren, who portrayed the late monarch onscreen in “The Queen” and onstage in “The Audience,” called Elizabeth “the nation’s leading lady.”

    The prizes — officially the EE BAFTA Film Awards — are Britain’s equivalent of Hollywood’s Academy Awards and will be watched closely for hints of who may win at the Oscars on March 12.

    Last month’s BAFTA nominations announcement helped propel the somber, Netflix-backed “All Quiet” into an awards-season favorite. Its tally of nominations is a joint record for a film not in the English language, equaling the 14 for “Crouching Tiger, Hidden Dragon” in 2001.

    “All Quiet,” “Banshees” and “Everything Everywhere” are all best-picture contenders at the Oscars, where “Everything Everywhere” has a leading 11 nominations.

    Martin McDonagh’s “Banshees,” the bleakly comic story of a friendship gone sour, has BAFTA nominations including best picture, best director and best actor, for Farrell. Nominations for “Everything Everywhere” include nods for co-directors Daniel Kwan and Daniel Scheinert — known jointly as “the Daniels” — and a best-actress nomination for Yeoh.

    Baz Lurhmann’s flamboyant musical biopic “Elvis” is up for nine awards, including best picture.

    The BAFTA best-picture nominees are “All Quiet on the Western Front,” “The Banshees of Inisherin,” “Elvis,” “Everything Everywhere All at Once” and Todd Field’s symphonic psychodrama “Tár.”

    The 10 nominees for outstanding British film, a separate category, include Charlotte Wells’ 1990s family drama “Aftersun,” Sam Mendes’ semi-autobiographical “Empire of Light” and Sophie Hyde’s smart sex comedy “Good Luck to You, Leo Grande.”

    Britain’s film academy introduced changes to increase the awards’ diversity in 2020, when no women were nominated as best director for the seventh year running and all 20 nominees in the lead and supporting performer categories were white.

    This year there are 11 female directors up for awards across all categories, including documentary and animated films. But just one of the main best-director nominees is female: Gina Prince-Bythewood for “The Woman King.” The other nominees are “All Quiet” director Edward Berger, McDonagh for “Banshees,” Kwan/Scheinert for “Everything Everywhere”, Field for “Tár” and Korean filmmaker Park Chan-wook, for “Decision to Leave.”

    Leading actress contenders are Yeoh; Blanchett for “Tár”: Viola Davis for “The Woman King”; Danielle Deadwyler for “Till”; Ana de Armas for “Blonde” and Emma Thompson for “Good Luck to You, Leo Grande.”

    Blanchett said it had been “an extraordinary year for female performers. To be counted among them is really special.”

    The best-actor category pits Farrell against Austin Butler for “Elvis”; Brendan Fraser for “The Whale”; Daryl McCormack for “Good Luck to You, Leo Grande,” Paul Mescal for “Aftersun” and Bill Nighy for “Living.”

    This is a strong year for Irish actors at the BAFTAs, with McCormack also up for the BAFTA Rising Star award, and Condon, Keoghan, Farrell and Brendan Gleeson all getting acting nominations for “Banshees.”

    McCormack hailed the event as “the Irish BAFTAs.”

    “It is a small country, but to see the talent that comes out of it is quite amazing,” he said.

    Three-time Oscar winner Sandy Powell became the first costume designer to be awarded the academy’s top honor, the BAFTA fellowship.

    The harsh world outside showbiz intruded on the awards when Bulgarian journalist Christo Grozev, who works for investigative website Bellingcat, said he had been “banned” from the awards because of a risk to public security. Grozev is featuref in “Navalny,” a film about jailed Russian opposition politician Alexei Navalny that won the best documentary BAFTA.

    The Metropolitan Police said it would not comment “on the safety of an individual or the advice they may have been given.” But the force noted that “some journalists face the hostile intentions of foreign states whilst in the U.K.”

    Jamie Lee Curtis, a supporting actress nominee for “Everything Everywhere,” said the chance awards season provides to celebrate cinema was more important than who wins.

    “It’s a moment of celebration in the midst of everything,” Curtis told The Associated Press on the red carpet. “It’s hard out there. Everywhere. All at once. All the time.”

    ___

    Associated Press writer Hilary Fox contributed to this report.

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  • Ant-Man opens big at box office with $104M for ‘Quantumania’

    Ant-Man opens big at box office with $104M for ‘Quantumania’

    NEW YORK — Phase five of the Marvel Cinematic Universe may have gotten off to a rocky start, but Ant-Man is bigger than ever at the box office.

    “Ant-Man and the Wasp: Quantumania” opened with $104 million in domestic ticket sales, according to studio estimates Sunday, easily surpassing the box-office debuts of the previous two Ant-Man films. The Walt Disney Co.’s “Quantumania” added another $121.3 million overseas to give the pint-sized hero a $225 million global launch.

    It’s easily the largest opening of the year so far. And “Quantumania” did so despite an atypically poor reception for the 31st MCU film. “Quantumania,” starring Paul Rudd as Ant-Man, Evangeline Lilly as the Wasp and Jonathan Majors as Kang the Conqueror, sits at 48% fresh on Rotten Tomatoes, making it the only MCU film to rank as rotten beside “The Eternals” (47%).

    Audiences also weren’t thrilled with “Quantumania,” giving it a “B” CinemaScore. “The Eternals” is the only other MCU film to receive a CinemaScore that low.

    Those scores will pose the biggest concern for Marvel as it continues to unroll phase five of the MCU, following mixed reviews for the post-“Avengers: Eternals” phase four of the comic-book franchise. Up next is “Guardians of the Galaxy Vol. 3” in May.

    But good reviews or not, theaters hope “Quantumania” — the first blockbuster of the year — is a sign of things to come. After the turmoil of the past three years, there are some 30 more wide releases planned for 2023.

    “It will feel almost in the coming weeks like a pre-pandemic moviegoing environment in terms of the marketplace,” said Paul Dergarabedian, senior media analyst for data firm Comscore. “That’s very good news coming off a very tumultuous past two, three years. This is the start of a big many months for this industry. We’ve sort of been in the waiting room with holdovers like ‘Avatar’ and others.”

    The first “Ant-Man” launched with $57.2 million domestically in 2015, the smallest opening for any movie in the MCU. It ultimately earned $519.3 million worldwide. Its sequel, “Ant-Man and the Wasp,” debuted three years later with $75.8 million and went to collect $622.7 million globally.

    China was vital for both of those releases, which each topping $100 million there. But in recent years, particularly during the pandemic, fewer American movies have secured major releases in the heavily regulated Chinese market. Not since “Avengers: Endgame” in 2019 has a Disney release opened simultaneously in the U.S. and China.

    Whether China will ever go back to those pre-pandemic numbers for U.S. movies, however, remains to be seen — especially as tensions continue to fester over the Chinese balloons surveillance program. “Quantumania” took in $19 million over the weekend in China.

    In its 10th weekend of release, James Cameron’s “Avatar: The Way of Water” remained in second place with $6.4 million. With $2.243 billion globally, Cameron’s sci-fi sequel has now just surpassed “Titanic” — currently back in theaters for its 25th anniversary — as the third-highest grossing film ever. Now, only the 2009 “Avatar” and “Avengers: Endgame” rank above “The Way of Water.”

    Landing in third was Universal’s “Puss in Boots: The Last Wish,” which has enjoyed an unusually long run in theaters as the top family option since late December. With $5.3 over the weekend, it has totaled $167 million domestically and more than $400 million worldwide.

    Last week’s top film, “Magic Mike’s Last Dance” slid to fourth place with $5.5 million. The Channing Tatum sequel has collected $18.1 million in two weeks.

    Only one new film went into wide release against “Quantumania.” Open Road and Briarcliff Entertainment debuted “Marlowe,” with Liam Neeson playing Raymond Chandler’s classic private eye, in 2,281 locations. “Marlowe,” though, only mustered $1.9 million.

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

    1. “Ant-Man and the Wasp: Quantumania,” $104 million.

    2. “Avatar: The Way of Water,” $6.1 million.

    3. “Magic Mike’s Last Dance,” $5.5 million.

    4. “Puss in Boots: The Last Wish,” $5.3 million.

    5. “Knock at the Cabin,” $3.9 million.

    6. “80 for Brady,” $3.6 million.

    7. “Titanic,” $2.3 million.

    8. “Marlowe,” $1.9 million.

    9. “Missing,” $1.7 million.

    10. “A Man Called Otto,” $1.6 million.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • Critics reject changes to Roald Dahl books as censorship

    Critics reject changes to Roald Dahl books as censorship

    LONDON — Critics are accusing the British publisher of Roald Dahl’s classic children’s books of censorship after it removed colorful language from works such as “Charlie and the Chocolate Factory” and “Matilda” to make them more acceptable to modern readers.

    A review of new editions of Dahl’s books now available in bookstores shows that some passages relating to weight, mental health, gender and race were altered. The changes made by Puffin Books, a division of Penguin Random House, first were reported by Britain’s Daily Telegraph newspaper.

    Augustus Gloop, Charlie’s gluttonous antagonist in “Charlie and the Chocolate Factory,” which originally was published in 1964, is no longer “enormously fat,” just “enormous.” In the new edition of “Witches,” a supernatural female posing as an ordinary woman may be working as a “top scientist or running a business” instead of as a “cashier in a supermarket or typing letters for a businessman.”

    The word “black” was removed from the description of the terrible tractors in 1970s “The Fabulous Mr. Fox.” The machines are now simply “murderous, brutal-looking monsters.”

    Booker Prize-winning author Salman Rushdie was among those who reacted angrily to the rewriting of Dahl’s words. Rushdie lived in hiding for years after Iran’s Grand Ayatollah Ruhollah Khomeini in 1989 issued a fatwa calling for his death because of the alleged blasphemy in his novel “The Satanic Verses.” He was attacked and seriously injured last year at an event in New York state.

    “Roald Dahl was no angel but this is absurd censorship,’’ Rushdie wrote on Twitter. “Puffin Books and the Dahl estate should be ashamed.’’

    The changes to Dahl’s books mark the latest skirmish in a debate over cultural sensitivity as campaigners seek to protect young people from cultural, ethnic and gender stereotypes in literature and other media. Critics complain revisions to suit 21st century sensibilities risks undermining the genius of great artists and preventing readers from confronting the world as it is.

    The Roald Dahl Story Company, which controls the rights to the books, said it worked with Puffin to review the texts because it wanted to ensure that “Dahl’s wonderful stories and characters continue to be enjoyed by all children today.”

    The language was reviewed in partnership with Inclusive Minds, a collective which is working to make children’s literature more inclusive and accessible. Any changes were “small and carefully considered,” the company said.

    It said the analysis started in 2020, before Netflix bought the Roald Dahl Story Company and embarked on plans to produce a new generation of films based on the author’s books.

    “When publishing new print runs of books written years ago, it’s not unusual to review the language used alongside updating other details, including a book’s cover and page layout,’’ the company said. “Our guiding principle throughout has been to maintain the storylines, characters, and the irreverence and sharp-edged spirit of the original text.”

    Puffin didn’t immediately respond to requests for comment.

    Dahl died in 1990 at the age of 74. His books, which have sold more than 300 million copies, have been translated into 68 languages and continue to be read by children around the world.

    But he is also a controversial figure because of antisemitic comments made throughout his life.

    The Dahl family apologized in 2020, saying it recognized the “lasting and understandable hurt caused by Roald Dahl’s antisemitic statements.”

    Regardless of his personal failings, fans of Dahl’s books celebrate his use of sometimes dark language that taps into the fears of children, as well as their sense of fun.

    PEN America, a community of some 7,500 writers that advocates for freedom of expression, said it was “alarmed” by reports of the changes to Dahl’s books.

    “If we start down the path of trying to correct for perceived slights instead of allowing readers to receive and react to books as written, we risk distorting the work of great authors and clouding the essential lens that literature offers on society,” tweeted Suzanne Nossel, chief executive of PEN America.

    Laura Hackett, a childhood Dahl fan who is now deputy literary editor of London’s Sunday Times newspaper, had a more personal reaction to the news.

    “The editors at Puffin should be ashamed of the botched surgery they’ve carried out on some of the finest children’s literature in Britain,” she wrote. “As for me, I’ll be carefully stowing away my old, original copies of Dahl’s stories, so that one day my children can enjoy them in their full, nasty, colorful glory.”

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  • Drama of McCarthy’s election may open House to more cameras

    Drama of McCarthy’s election may open House to more cameras

    NEW YORK — The difference between a government-controlled camera that followed a climactic moment in Rep. Kevin McCarthy’s election as House speaker and one operated by a C-SPAN journalist was like a fuzzy black-and-white picture contrasted with sparkling, clear color.

    In one, McCarthy strides up an aisle in the House chamber and disappears from view. A few people in the front turn to see where he’s going. After a minute, and some audible gasps, everyone stands to watch what the camera doesn’t show.

    C-SPAN captured the entire scene, including the exasperated McCarthy’s tense, finger-pointing conversation with Rep. Matt Gaetz, R-Fla., and a GOP colleague held back from lunging at Gaetz.

    Some in Congress and C-SPAN are seizing on that moment to ask that the House floor be more fully open to cameras in the interest of transparency. There’s been tangible movement in that direction.

    McCarthy, as House speaker, has the final word. His office has signaled that changes are being considered. Already, government cameras have broadened their views.

    “I’m guardedly optimistic that the speaker would consider independent media coverage, if not permanently, at least on request,” said Ben O’Connell, C-SPAN director of editorial operations. “We had a lot of positive feedback from both sides of the aisle.”

    There’s been little change in how the public has seen House sessions since cameras were first brought in 43 years ago, according to Susan Swain, C-SPAN’s co-CEO. For the most part, the podium and lawmakers who come to the front to speak are shown, but little else. There are exceptions when other cameras are allowed, such as when a joint session of Congress is convened for the State of the Union.

    The quirk that increased visibility that week in January was that, technically, at the time there was no speaker. Outgoing Speaker Nancy Pelosi, D-Calif., consented to three C-SPAN cameras, O’Connell said.

    “We want to make it as accessible as possible, and I think cameras do that,” said Democratic Rep. Mark Pocan of Wisconsin, who has 25 co-sponsors for a resolution supporting C-SPAN’s bid.

    Beyond the McCarthy drama, cameras offered other insights such as when polar political opposites Reps. Alexandria Ocasio-Cortez, D-N.Y., and Paul Gosar, R-Ariz., had a congenial conversation.

    All of Pocan’s co-sponsors are Democrats, which give them little sway with McCarthy, R-Calif. But there’s been some GOP support for the concept, including from Gaetz.

    Rep. Chip Roy, R-Texas, was quoted by CNN as saying, “What the American people were able to see unfold on the floor was a good thing for our democracy and our republic.”

    Given how the speaker’s vote played out in public, it wouldn’t surprise Pocan if McCarthy had little interest in more closely watched proceedings. But that hasn’t necessarily been the case.

    McCarthy’s office didn’t necessarily mind how things looked during the vote and is open to greater access on certain occasions.

    “We are exploring a number of options to open up the People’s House to ensure a more transparent and accessible Congress for the American people,” said Mark Bednar, a McCarthy spokesman.

    The Senate has similar rules, but has gotten less attention because of the McCarthy vote.

    Without fanfare, the government-controlled cameras have been offering some different views in recent weeks, observers said. There are eight cameras installed, up from six four years ago.

    What’s uncertain is whether C-SPAN will get what it prefers: its own cameras, installed in the gallery overlooking the House floor, controlled robotically by journalists and available by pool to all news organizations.

    McCarthy’s office is likely to move with caution, said Brendan Buck, who worked for then-Speakers John Boehner, R-Ohio, and Paul Ryan, R-Wis., and is now a partner at the communications firm Seven Letter.

    “Once you give something, it’s hard to take it back,” he said. “They have to make sure they are comfortable giving the access, knowing that it may be forever.”

    Buck said he believed that some rank-and-file members of Congress would be more resistant than leadership. With Washington increasingly segregated by party, the House floor is one of the few places members have to get to know colleagues they might not normally spend time with, he said.

    “They don’t want every conversation they have to have eyes and ears on it,” Buck said. That may not be a good reason to restrict cameras, but it may actually serve democracy, he said.

    More cameras might also promote performing rather than legislating, a point Pocan conceded.

    “But, honestly, people who are going to cause disruption are going to do it regardless,” he said. Pocan doesn’t want cameras kept away for the wrong reasons, like the risk a representative could be caught dozing on the job.

    Every time that a new speaker has been elected in the 22 years that O’Connell has been at C-SPAN, the company’s top executive dutifully writes to request access to the chamber by journalists with video cameras, he said.

    This year, he said, “I didn’t think we were going to do anything because it felt like we were shouting at a wall.”

    Yet the speaker’s vote, where C-SPAN’s video was used widely by other television networks and on social media, led Swain to try again.

    The Radio and Television Correspondents Association, which represents broadcast outlets that cover Congress, supports C-SPAN’s request. The group’s chairman, Jared Halpren, said he appreciates the willingness of McCarthy’s office to explore alternatives.

    If changes are made, they would be tied directly to the night McCarthy was elected.

    “It was a perfect crystallization of the argument for allowing independent media in the chamber on a more regular basis,” O’Connell said.

    ___

    AP Congressional Correspondent Lisa Mascaro in Washington contributed to this report.

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  • Anthem for Charles III’s coronation written by Lloyd Webber

    Anthem for Charles III’s coronation written by Lloyd Webber

    LONDON — Andrew Lloyd Webber, the English composer who created the scores for blockbuster musicals such as “Cats,’’ “The Phantom of the Opera’’ and “Evita,’’ has written the anthem for King Charles III’s coronation, adapting a piece of church music that encourages singers to make a “joyful noise.”

    The work by Webber is one of a dozen new pieces Charles commissioned for the grand occasion taking place May 6 at Westminster Abbey. It includes words adapted from Psalm 98 and is scored specifically for the abbey’s choir and organ.

    “I hope my anthem reflects this joyful occasion,” Webber said in a statement distributed by Buckingham Palace.

    The program for the king’s coronation ceremony includes older music and new compositions as the palace seeks to blend traditional and modern elements that reflect the realities of modern Britain. New pieces were composed by artists with roots in all four of the United Kingdom’s constituent nations, as well as in the Commonwealth and foreign countries that have sent so many people to its shores.

    The service will include works by William Byrd (1543–1623), George Frideric Handel (1685–1759), Edward Elgar (1857–1934), Henry Walford Davies (1869–1941), William Walton (1902–1983), Hubert Parry (1848–1918) and Ralph Vaughan Williams (1872–1958), whose music has featured in previous coronations, along with a piece from the contemporary Welsh composer Karl Jenkins.

    There will also be new works by Sarah Class, Nigel Hess, Paul Mealor, Tarik O’Regan, Roxanna Panufnik, Shirley J. Thompson, Judith Weir, Roderick Williams and Debbie Wiseman.

    “The decision to combine old and new reflects the cultural breadth of the age in which we live,’’ said Andrew Nethsingha, the organist and master of choristers at Westminster Abbey.

    “Coronations have taken place in Westminster Abbey since 1066. It has been a privilege to collaborate with his majesty in choosing fine musicians and accessible, communicative music for this great occasion,” Nethsingha said.

    In all, six orchestral commissions, five choral commissions and one organ commission — spanning the classical, sacred, film, television and musical theater genres — were created for the coronation.

    The program will also include personal touches, including a musical tribute to Charles’ late father, Prince Philip, who was born a Greek prince. The new monarch requested Greek Orthodox music, which will be performed by the Byzantine Chant Ensemble.

    Though specifics on some of the material are being kept under wraps, one hymn will definitely be part of the service: Handel’s “Zadok the Priest.”

    The hymn, with its robust chorus of “God Save the King,” has been played at every coronation since it was commissioned for the coronation of King George II in 1727.

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  • With ‘Air,’ Affleck tells lesser-known Michael Jordan story

    With ‘Air,’ Affleck tells lesser-known Michael Jordan story

    SALT LAKE CITY — Ben Affleck was 12 years old in 1984 and growing up in the Boston area. The Celtics were NBA champions. The Red Sox and Patriots were respectable. The Bruins got swept in the first round of the playoffs.

    And that also was when Nike was betting much of its future on Michael Jordan.

    Part of that tale will be told in the upcoming film “Air,” which Affleck directed and stars in alongside Matt Damon, Viola Davis, Jason Bateman and more. Affleck plays Nike co-founder Phil Knight, and Damon plays then-Nike executive Sonny Vaccaro — who was tasked with finding a way of saving what was then the company’s fledgling basketball division.

    Affleck did it with one key character absent: Jordan is not shown in the movie.

    “What I wanted to try to accomplish was to have Michael Jordan have the effect in the story that he has in the world, which is that obviously the vast majority of people don’t know and have never met Michael Jordan — and yet they know about him, and they know what he means and they might talk about him,” Affleck said. “So, in a way, he’s like a presence that’s felt and discussed and everybody else around him is there. But you never see his face.”

    Nike wound up signing Jordan — who had yet to play an NBA game — to a $2.5 million, five-year deal.

    It was a huge gamble.

    Spoiler alert, with apologies to the movie that gets released April 5: It worked out.

    Jordan Brand generated $4.7 billion in revenue in 2021, the Jumpman logo is iconic, Nike has become one of the world’s most powerful and recognizable companies, and Jordan won six NBA championships, became a billionaire, and now owns the Charlotte Hornets.

    And since most viewers will already know all those things, Affleck took on the challenge of telling lesser-known parts of the story.

    “The movie has to do realistic, it has to do authentic, and it has to surprise the audience,” Affleck said. “Because if what happens is something that the audience can predict, even if they like it, they go along with it, it’s ordinary, it’s boring. It’s just not what I want to do.”

    The trailer, released last week, is up to 6 million views. Affleck was at All-Star weekend to help promote Friday’s celebrity game, and ads for the film were shown on the jumbo scoreboards over the court.

    Affleck said he has met with Jordan about the movie.

    “Somebody asked me what you’re doing from Boston and making a movie about the Chicago guy,” Affleck said in an interview with a number of media outlets. “Michael Jordan sort of transcends, I think, rivalry.”

    ___

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  • King Charles turns to ‘Cats’ composer Andrew Lloyd Webber for flagship coronation music | CNN

    King Charles turns to ‘Cats’ composer Andrew Lloyd Webber for flagship coronation music | CNN


    London
    CNN
     — 

    Britain’s King Charles III has enlisted the help of acclaimed British composer Andrew Lloyd Webber to write the flagship anthem for his upcoming coronation.

    Charles’s coronation will take place on May 6 at Westminster Abbey in London, and will see Camilla, Queen Consort crowned alongside her husband.

    The King has personally selected the musical program for the service, which will see “a range of musical styles and performers blend tradition, heritage and ceremony with new musical voices of today,” according to Buckingham Palace.

    Twelve new pieces of music have been prepared for the occasion – including six orchestral works, five choral pieces and one organ commission – by several world-renowned composers whose styles include classical, sacred, film, television and musical theater.

    Famed composer Andrew Lloyd Webber, whose hit musicals “Cats” and “Phantom of the Opera” have been performed around the world, said he was “incredibly honoured” to be involved.

    “My anthem includes words slightly adapted from Psalm 98. I have scored it for the Westminster Abbey choir and organ, the ceremonial brass and orchestra,” Lloyd Webber said. “I hope my anthem reflects this joyful occasion.”

    A Coronation March has been written by Patrick Doyle, an award-winning Scottish composer best known for his work on films like “Harry Potter and the Goblet of Fire,” “Gosford Park” and “Carlito’s Way.”

    One of the more sentimental inclusions from the King is his choice to have Greek Orthodox music played during the service, performed by the Byzantine Chant Ensemble, in tribute to his father, the late Prince Philip, who died two years ago.

    Meanwhile, musical themes from countries across the Commonwealth will feature in Iain Farrington’s new solo organ commission. The other new works have been created by Sarah Class, Nigel Hess, Paul Mealor, Tarik O’Regan, Roxanna Panufnik, Shirley J. Thompson, Judith Weir, Roderick Williams, and Debbie Wiseman.

    A handpicked gospel choir – The Ascension Choir – is also set to perform as part of the service, in addition to the Choir of Westminster Abbey and the Choir of His Majesty’s Chapel Royal, St James’s Palace. They will be joined by girl choristers from the Chapel Choir of Methodist College, Belfast and from Truro Cathedral Choir. The traditional “Vivat” acclamations will be proclaimed by the King’s Scholars of Westminster School.

    Andrew Nethsingha, organist and master of the choristers at Westminster Abbey, said all coronation services are a blend of “deeply-rooted tradition and contemporary innovation” and praised the new British monarch for “choosing fine musicians and accessible, communicative music for this great occasion.”

    London's Westminster Abbey has been the location of every coronation since 1066. Since William the Conqueror, all but two monarchs have been crowned there.

    The ceremony will also include historic music featured in coronation services over the past four centuries by the likes of William Byrd, George Frideric Handel, Edward Elgar, Henry Walford Davies, William Walton, Hubert Parry and Ralph Vaughan Williams.

    Antonio Pappano, musical director of the Royal Opera House and conductor of the Coronation Orchestra, said: “His Majesty has chosen a most beautiful and varied programme that I believe will enhance the splendour of this very special celebration.”

    Buckingham Palace previously revealed the coronation will be “a solemn religious service, as well as an occasion for celebration and pageantry,” conducted by the Archbishop of Canterbury Justin Welby.

    The three-day weekend at the beginning of May is set to include grand processions through central London, a star-studded concert at Windsor Castle in addition to celebrations across the country. Britons have been given an extra bank holiday and members of the public are being invited to join “The Big Help Out” by volunteering in their communities.

    “Everyone is invited to join in, on any day,” Michelle Donelan, UK culture secretary, said in a statement. “Whether that is by hosting a special street party, watching the Coronation ceremony or spectacular concert on TV, or stepping forward during The Big Help Out to help causes that matter to them.”

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