Month: July 2023

After a globe-trotting publicity blitz by star Tom Cruise, “Mission: Impossible – Dead Reckoning Part One” launched with a franchise-best $80 million over five days, though it came in shy of industry expectations with a $56.2 million haul over the three-day weekend, according to studio estimates.

The Paramount Pictures’ debut was boosted by strong overseas sales of $155 million from 70 markets. But while a $235 million worldwide launch marked one of the best global openings of the year, “Dead Reckoning” couldn’t approach the high-speed velocity of last summer’s top film, “Top Gun: Maverick.”

“Dead Reckoning Part One,” the seventh film in the 27-year-old series, had been forecast to better the franchise high of the previous installment, “Fallout,” which opened with $61 million domestically in 2018. Instead, it also fell short of the $57.8 million “Mission: Impossible II” debuted with in 2000.

That puts the film’s opening-weekend tally very close to the tepid launch of Disney’s “Indiana Jones and the Dial of Destiny,” which opened in U.S. and Canadian theaters with $82 million over five days and $60 million over the three-day weekend. Paramount and Skydance had higher hopes for the action extravaganza of “Dead Reckoning,” which cost $290 million to make, not counting marketing expenses.

Those costs were inflated, in part, by the pandemic. “Dead Reckoning,” directed by Christopher McQuarrie, was among the first major productions shut down by COVID-19. It was preparing to shoot in Italy in March 2020. When the film got back on track, McQuarrie and Cruise helped lead the industry-wide recovery back to film sets – albeit with some well-publicized friction over protocols along the way.

Still, “Dead Reckoning” was hailed as a high point in the franchise. Critics (96% fresh on Rotten Tomatoes) and fans (an “A” on CinemaScore) alike came away awed by the stunts and chases of the latest “Mission: Impossible” film. Though the coming competition of “Barbenheimer” — the much-anticipated debuts of “Barbie” and “Oppenheimer” — looms, “Mission: Impossible” should play well for weeks to come.

“This is a global franchise. It’s going gangbusters and it’s going to play for a long time. Quality always wins in the end,” said Chris Aronson, distribution chief for Paramount.

“Dead Reckoning,” Aronson said, met or exceeded the studio’s expectations.

“In international markets, in like-for-like markets, we’re 15% ahead of ‘Fallout,’ and that’s taking China out,” added Aronson. “Domestically, we’re over 3% ahead of ‘Fallout’ for the first five days. To beat its predecessor is phenomenal, especially in this environment.”

Cruise, the so-called savior of movie theaters last year, traveled tirelessly to again pump life back into a summer box office that’s been sluggish. After a splashy world premiere in Rome with a red-carpet on the Spanish Steps, Cruise and McQuarrie surprised theaters in Atlanta, Miami, Toronto and Washington D.C. in the days ahead of opening.

“Dead Reckoning” hit theaters at a crucial mid-summer period for Hollywood, and not just because of the SAG-AFTRA strike which began Thursday. “Mission: Impossible” launched a week before one of the biggest box-office showdowns of the year.

Though “Dead Reckoning” and “Oppenheimer” have vied for some of the same IMAX screens, each film has publicly endorsed the idea that a rising tide lifts all blockbusters. Cruise and McQuarrie in early July even bought opening-weekend tickets to both “Barbie” and “Oppenheimer.” “Barbie” director Greta Gerwig and “Oppenheimer” filmmaker Christopher Nolan reciprocated with their own gestures of support.

However, that trio of films performs over the next few weeks will do a lot to determine the fate of the summer box office.

“These are a crucial couple of weeks for the industry starting this weekend,” said Paul Dergarabedian, senior media analyst for data firm Comscore. “I think it’s going to be a fun reinvigoration of the box office because we have had a few films underperforming. Really, the summer movie season restarts this week with ‘Mission’ leading into ‘Barbenheimer.'”

No other new wide release challenged “Mission: Impossible” over the weekend. Second place went to Angel Studios’ faith-based political thriller “Sound of Freedom” which increased 37% in its second with $27 million. Jim Caviezel stars in the child trafficking drama.

Last week’s top film, “Insidious: The Red Door” slid to third with $13 million in its second weekend. “Indiana Jones and the Dial of Destiny” dropped quickly with $12 million for its third weekend, with a domestic total so far of $145.4 million.

In limited release, the Searchlight Pictures’ mockumentary “Theater Camp” opened to $270,000 from six theaters in New York and Los Angeles.

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

1. “Mission: Impossible — Dead Reckoning Part One,” $56.2 million.

2. “Sound of Freedom,” $27 million.

3. “Insidious: The Red Door,” $13 million.

4. “Indiana Jones and the Dial of Destiny,” $12 million.

5. “Elemental,” $8.7 million.

6. “Spider-Man: Across the Spider-Verse,” $6.1 million.

7. “Transformers: Rise of the Beasts,” $3.4 million.

8. “No Hard Feelings,” $3.3 million.

9. “Joy Ride,” $2.6 million.

10. “The Little Mermaid,” $2.4 million.
    …

British-born actress and singer Jane Birkin, a 1960s wildchild who became a beloved figure in France, has died in Paris aged 76.

The French Culture Ministry said the country had lost a “timeless Francophone icon.”

Local media reported she had been found dead at her home, citing people close to her. Birkin had a mild stroke in 2021 after suffering heart problems in previous years.

Birkin was best known overseas for her 1969 hit in which she and her then-lover, the late French singer and songwriter Serge Gainsbourg, sang the sexually explicit “Je t’aime…moi non plus”.

She had lived in her adopted France since the late 1960s and apart from her singing and roles in dozens of films, she was a popular figure for her warm nature, stalwart fight for women’s and LGBT rights.

The “most Parisian of the English has left us,” said Paris Mayor Anne Hidalgo. “We will never forget her songs, her laughs and her incomparable accent which always accompanied us.”

Jane Mallory Birkin was born in London in December 1946, daughter of British actress Judy Campbell and Royal Navy commander David Birkin.

She first took to the stage aged 17 and went on to appear in the 1965 musical “Passion Flower Hotel” by conductor and composer John Barry, whom she married shortly after. The marriage ended in the late 1960s.

Before venturing across the Channel aged 22, she achieved notoriety in the controversial 1966 Michelangelo Antonioni film “Blow-Up,” appearing naked in a threesome sex scene.

But it was in France that she truly shot to fame, as much for her love affair with tormented national star Gainsbourg, as for her tomboyish style and endearing British accent when speaking French, which some said she cultivated deliberately.

Following the breakup of that relationship in 1981, she continued her career as a singer and actress, appearing on stage and releasing albums such as “Baby Alone in Babylone” in 1983, and “Amour des Feintes” in 1990, both with words and music by Gainsbourg.

She wrote her own album “Arabesque” in 2002, and in 2009 released a collection of live recordings, “Jane at the Palace.”

“It’s unimaginable to live in a world without you,” said French singer Etienne Daho, who produced and composed Birkin’s last album in 2020.

It was on the set of the film “Slogan” in 1969 that Birkin first met Gainsbourg, who was recovering from a break-up with Brigitte Bardot, and the two quickly began a love affair that captivated the nation.

That same year they released “Je T’Aime… Moi Non Plus” (“I Love You… Me Neither”), a song about physical love originally written for Bardot in which Gainsbourg’s explicit lyrics are punctuated with breathy moans and cries from Birkin.

The song was banned by the BBC and condemned by the Vatican.

Gainsbourg’s drinking eventually got the better of the relationship, and Birkin left him in 1981 to live with film director Jacques Doillon. However she remained close to the troubled singer until his death in March 1991.

It was around this time that she inspired the famous Birkin bag by French luxury house Hermes, after chief executive Jean-Louis Dumas saw her struggling with her straw bag on a flight to London, spilling the contents over the floor.

She is survived by two daughters the singer and actress Charlotte, born in 1971, and Lou Doillon, also an actress, born in 1982. She also had a daughter, Kate, who was born in 1967 and died in 2013.
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Pianist André Watts, whose televised debut with the New York Philharmonic as a 16-year-old in 1963 launched an international career of more than a half-century, has died. He was 77.

Watts died Wednesday at his home in Bloomington of prostate cancer, his manager, Linda Marder, said Friday. Watts joined the faculty of the Indiana University Jacobs School of Music in 2004. He said in 2016 that he had been diagnosed with prostate cancer.

Watts won a Philadelphia Orchestra student competition and debuted when he was 10 in a children’s concert on Jan. 12, 1957, performing the first movement of Haydn’s Concerto in D major.

He studied under Genia Robinor and made his New York Philharmonic debut in a Young People’s Concert led by music director Leonard Bernstein on Jan. 12, 1963, a program televised three days later on CBS.

“Now we come to a young man who is so remarkable that I am tempted to give him a tremendous buildup, but I’d almost rather not so that you might have the same unexpected shock of pleasure and wonderment that I had when I first him play,” Bernstein told the audience. “He was just another in a long procession of pianists who were auditioning for us one afternoon and out he came, a sensitive-faced 16-year-old boy from Philadelphia … who sat down at the piano and tore into the opening bars of a Liszt concerto in such a way that we simply flipped.”

Bernstein conducted Watts and the orchestra in Liszt’s Piano Concerto No. 1.

“What Mr. Watts had that was exceptional was a delicacy of attack that allowed the piano to sing,” Raymond Ericson wrote in The New York Times.

Watts so impressed Bernstein that the conductor chose him to replace an indisposed Glenn Gould and play the Liszt concerto twice at Philharmonic Hall a few weeks later. Within months, he had earned a recording contract and became among the most prominent pianists.

“When I’m feeling unhappy, going to the piano and just playing gently and listening to sounds makes everything slowly seem all right,” he said on a 1987 episode of “Mister Rogers’ Neighborhood.”

Born in Nuremberg, Germany, on June 20, 1946, to a Hungarian mother and a Black father who was in the U.S. Army, Watts moved with his family to Philadelphia.

“When I was young, I was in the peculiar position with my school chums of not being white and not being Black, either,” Watts told The Christian Science Monitor in 1982. “Somehow I didn’t fit in very well at all. My mom said two things, ‘If you really think that you have to play 125% to a white’s 100% for equal treatment, it’s too bad. But fighting will not alter it.’ And, ‘If someone is not nice to you, it doesn’t have to be automatically because of your color.’

“(That advice) taught me that when I’m in a complex personal situation, I don’t have to conclude it is a racial thing. Therefore, I think I have encountered fewer problems all along the way.”

Watts’ career was interrupted on Nov. 14, 2002, when he was stricken by a subdural hematoma before a scheduled performance with the Pacific Symphony at the Orange County Performing Arts Center in Costa Mesa, California. He had surgery in Newport Beach.

Watts then had surgery in 2004 to repair a herniated disk that caused nerve damage in his left hand. He made the last of more than 40 Carnegie Hall appearances with the Orpheus Chamber Orchestra in 2017. He had been scheduled to appear at the New York Philharmonic this November to mark the centennial of “Young People’s Concerts.”

He was nominated for five Grammy Awards and won Most Promising New Classical Recording Artist in 1964 for the Liszt concerto with Bernstein and the New York Philharmonic. He was nominated for a 1995 Emmy Award for Outstanding Cultural Program and received a 2011 National Medal of Arts and National Humanities Medal from then-President Barack Obama.

Watts is survived by his wife Joan Brand Watts, stepson William Dalton, stepdaughter Amanda Rees and seven step-grandchildren. There were no immediate funeral plans.
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Thousands of actors, from A-list celebrities to those struggling to break into the entertainment industry, voted to go on strike this week, plunging Hollywood and the broader film and television industry into what seems likely to be a lengthy work stoppage.

The board of the Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA) ordered the strike Thursday, demanding a new contract that takes into account the new technologies — particularly video streaming and artificial intelligence — that have already transformed the industry and appear likely to drive even more change in the future.  Previously, 98% of the union’s members had voted in favor of authorizing the strike if negotiators could not reach a deal.

The members of SAG-AFTRA join the members of the Writers Guild of America (WGA), who have been on strike since May, with similar demands for an updated contract. The last time writers and actors went on strike at the same time was in 1960, when actor and future U.S. President Ronald Reagan was president of the Screen Actors Guild.

On the other side of the dispute is the Alliance of Motion Picture and Television Producers (AMPTP), representing major film studios, streaming services, and other outlets, including Amazon, Apple, Disney, NBCUniversal, Netflix, Paramount, Sony and Warner Bros Discovery. Negotiations between the alliance and SAG-AFTRA broke down this week.

Battle lines drawn 

While there are a number of issues the two sides need to resolve, two of the largest are residual payments and the use of generative artificial intelligence.

The term “residuals” refers to payments that actors receive when a production they took part in is broadcast again. The current system does not account well for the phenomenon of on-demand streaming of films and television shows, and does not include enhancements for movies and shows that become very popular. Actors want a “success metric” that raises the payout for popular content.

Additionally, actors want compensation and protections surrounding the use of generative artificial intelligence. For example, if footage of their performances is used to train AI systems, which can then artificially produce new content using an actor’s image and voice, they want to be paid for that content.

Structural problems 

James McMahon, a professor at the University of Toronto and the author of The Political Economy of Hollywood: Capitalist Power and Cultural Production, told VOA in an email exchange that the sticking points between actors and the studios are structural and will be difficult to overcome.

“The decline of box-office receipts and the rise of video streaming are, I believe, two sides of the same problem,” he wrote. “The major studios have (a) struggled to get more people to watch more movies, especially in theaters; and (b) have struggled to produce filmed entertainment profits that are competitive to the profits of other large multinational firms. Video streaming seemingly comes to the rescue of declining box-office receipts. However, user growth in streaming is not infinite, and when growth slows, firms will find additional profit from streaming by raising prices and cutting costs.”

He said that studios have been able to extract more revenue by raising the price of streaming services, keeping residuals low, and hiring fewer writers.

“[T]hese are the ways, up until these strikes, the major studios have found additional opportunities to cut costs. These strikes feel ‘existential’ because the WGA and SAG-AFTRA are saying that these cost-cutting benefits have not been sufficiently negotiated, particularly for the welfare of the average actor or writer.” 

Claims of greed 

Fran Drescher, best known as the star of the 1990s television show “The Nanny,” delivered a fiery speech Thursday in her capacity as current president of SAG-AFTRA, slamming the studios as greedy and selfish. She criticized the studios for resisting calls to raise actors’ pay at the same time that studio executives, like Disney CEO Bob Iger, are paid tens of millions of dollars per year.

“We are the victims here. We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us,” she said.

“I cannot believe it, quite frankly, how far apart we are on so many things,” Drescher added. “How they plead poverty, that they’re losing money left and right when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history.”

In a press release responding to the strike, the AMPTP said, “A strike is certainly not the outcome we hoped for as studios cannot operate without the performers that bring our TV shows and films to life. The Union has regrettably chosen a path that will lead to financial hardship for countless thousands of people who depend on the industry.”

Huge impact 

The combined effect of the two strikes will be to stop  production of most feature films and scripted television programs. The writers’ strike had already forced many productions to close down, but now even films and shows with completed scripts will be affected.

However, the strike’s impact will go deeper than halting production. The members of SAG-AFTRA will be barred from promoting any films in which they appear, including campaigning for honors such as the Academy Awards for films and the Emmy Awards for television programs.

On Thursday, the stars of “Oppenheimer” and “Barbie,” two summer blockbusters scheduled for release this month, stopped participating in promotional events hyping the films. In the case of “Oppenheimer,” the lead actors, including Cillian Murphy, Emily Blunt, Matt Damon and Florence Pugh, walked out in the middle of the film’s London premiere after the strike was announced.

‘Middle class’ actors 

While Hollywood’s megastars may receive most of the media coverage, the vast majority of the roughly 160,000 SAG-AFTRA members are not household names, but people trying to earn a living in an industry that has changed significantly in recent years.

“This isn’t about the big stars — they have their own agents who negotiate contracts above and beyond the SAG contract and earn hundreds of thousands, millions, or even tens of millions of dollars,” Jonathan Handel, a media attorney and journalist, told VOA. “This is about middle-class actors struggling to keep a roof over their heads and food on the table in high-cost cities like Los Angeles and New York.”

Handel, whose book, Hollywood on Strike!: An Industry at War in the Internet Age, chronicled the last strike by actors in 2007, said that the parties could be facing a long road toward any permanent resolution.

“Right now, there is a lot of bitterness in the room,” he said. “A lot of things were said, and there’s no real appetite for anything but striking. Labor is very upset and very unhappy with the way the companies are running things. The companies, for their part, view this as existential also, because filmed entertainment has not seen more rapid, disruptive change in such a short period of time since the period after World War II.” 
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The U.S. national team, like most of the rest of the field, faces a long flight to the Women’s World Cup in Australia and New Zealand. Already seasoned travelers, the American players have strategies for wiling away the time. And they’ll certainly need those tactics: The flight to New Zealand, where they’ll spend the group stage of the tournament, is 12 hours. Midfielder Andi Sullivan plans on napping, while defender Emily Fox intends to keep with a soccer theme and finally watch “Ted Lasso.”

Midfielder Andi Sullivan plans on napping. Defender Emily Fox intends to keep with a soccer theme and finally watch “Ted Lasso.”

The U.S. national team — like most of the rest of the field — faces a long flight to the Women’s World Cup in Australia and New Zealand.

Already seasoned travelers, the Americans have strategies for wiling away the time. And they’ll certainly need those tactics: The flight to New Zealand, where they’ll spend the group stage of the tournament, is 12 hours.

“I need suggestions!” midfielder Kristie Mewis exclaimed about the shows she plans to download for the flight. “Honestly, I’m rewatching ‘Suits’ right now. I love ‘Suits.'”

Once they get there, the players will retreat into a self-imposed bubble where they shut out the noise and the distractions for some seven weeks. Most stay off of social media platforms for the duration.

Forward Trinity Rodman, making her World Cup debut, is taking the advice of the veterans. Rodman’s dad is former NBA star Dennis Rodman, so she gets a lot of attention just because of her name.

“They have been very open about making sure you have entertainment and ways to distract yourself outside of your phone and social media, because I do think with social media you can get consumed by it and you can definitely get sucked up in it,” Rodman said. “But I think finding those ways to isolate yourself, finding hobbies in the hotel room: Coloring, journaling, reading, Fortnite. I’m a bit of a gamer so that has definitely helped me to just like relax.”

The United States plays Wales in a send-off match on Sunday in San Jose, California. That same night, they’ll fly to training camp in New Zealand.

The World Cup kicks off July 20. The United States opens with a game against Vietnam on July 22.

 
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The Los Angeles County Medical Examiners’ office says Lisa Marie Presley, the only child of the iconic musician Elvis Presley, died earlier this year as a result of “a small bowel obstruction.”  

Presley, who was also a musician, died January 12th, just two days after she attended the Golden Globes where she saw Austin Butler take home the Best Actor award for his portrayal of her father in the film Elvis.

The obstruction that Presley had “is a known long-term complication” of bariatric weight loss surgery, the medical examiner’s office said. Her surgery was performed “years ago,” according to the report.   

The medical examiner’s report also said Presley had “therapeutic levels” of oxycodone and other medicine in her system but added that they were not seen as contributing factors to her death.

Presley was once married to Michael Jackson, another iconic performer.  
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Leaders of a Hollywood actors union voted Thursday to join screenwriters in the first joint strike in more than six decades, shutting down production across the entertainment industry after talks for a new contract with studios and streaming services broke down.

It’s the first time two major Hollywood unions have been on strike at the same time since 1960, when Ronald Reagan was the actors’ guild president.

In an impassioned speech as the strike, which begins at midnight, was announced, actors’ union president Fran Drescher, former star of “The Nanny,” chastised industry executives.

“Employers make Wall Street and greed their priority, and they forget about the essential contributors that make the machine run,” Drescher said. “It is disgusting. Shame on them. They stand on the wrong side of history.”

Hours earlier, a three-year contract had expired, and talks broke off between the Screen Actors Guild-American Federation of Television and Radio Artists and the Alliance of Motion Picture and Television Producers representing employers including Disney, Netflix, Amazon and others.

Outside Netflix’s Hollywood offices, picketing screenwriters chanted “Pay Your Actors!” immediately after the strike was declared. Actors will begin picketing alongside writers outside studio headquarters in New York and Los Angeles on Friday.

“It looks like it’s time to take down the MASKS. And pick up the SIGNS,” Oscar-winner Jamie Lee Curtis said in an Instagram post with a photo of the tragic and comic masks that represent acting.

The premiere of Christopher Nolan’s film “Oppenheimer” in London was moved up an hour so that the cast could walk the red carpet before the SAG board’s announcement. Stars including Cillian Murphy, Emily Blunt and Matt Damon left the event once the strike was announced.

The strike — the first for film and television actors since 1980 — casts a shadow over the upcoming 75th Emmy Awards, whose nominations were announced a day earlier. Union rules prevent actors from doing any interviews or promotions around the awards, and they may not appear at the ceremony.

The strike rules also prevent actors from making personal appearances or promoting their work on podcasts or at premieres. And they are barred from doing any production work, including auditions, readings, rehearsals or voiceovers, along with actual shooting.

While international shoots technically can continue, the stoppage among U.S.-based writers and performers is likely to have a drag on those, too.

Disney chief Bob Iger warned the strike would have a “very damaging effect on the whole industry.”

“This is the worst time in the world to add to that disruption,” Iger said on CNBC. “There’s a level of expectation that they have that is just not realistic.”

A nearly two-week extension of the actors union contract and negotiations only heightened the hostility between the two groups. Drescher said the extension made us “feel like we’d been duped, like maybe it was just to let studios promote their summer movies for another 12 days.”

Before the talks began June 7, the 65,000 actors who cast ballots voted overwhelmingly for union leaders to send them into a strike, as the Writers Guild of America did when their deal expired more than two months ago.

When the initial deadline approached in late June, more than 1,000 members of the union, including Meryl Streep, Jennifer Lawrence and Bob Odenkirk, added their names to a letter signaling to leaders their willingness to strike.

While famous names predominate, the strike also includes tens of thousands of little-known actors who scramble for small parts at sometimes meager pay. The union says modest-but-essential income streams, including long-term residuals for shows they appear in, have dried up.

Stakes in the negotiations included that kind of pay, which actors say has been undercut by inflation and the streaming ecosystem, benefits, the growing tendency to make performers create video auditions at their own expense, and the threat of unregulated use of artificial intelligence.

“At a moment when streaming and AI and digital was so prevalent, it has disemboweled the industry that we once knew,” Drescher said, drawing applause from her fellow union leaders. “When I did ‘The Nanny’ everybody was part of the gravy train. Now it’s a vacuum.”

The AMPTP said it presented a generous deal that included the biggest bump in minimum pay in 35 years, higher caps on pension and health contributions, and “a groundbreaking AI proposal that protects actors’ digital likenesses.”

“A strike is certainly not the outcome we hoped for as studios cannot operate without the performers that bring our TV shows and films to life,” the group said in a statement. “The Union has regrettably chosen a path that will lead to financial hardship for countless thousands of people who depend on the industry.”

SAG-AFTRA represents more than 160,000 screen actors, broadcast journalists, announcers, hosts and stunt performers. The walkout affects only the union’s actors from television and film productions, who voted overwhelmingly to authorize their leaders to call a strike before talks began on June 7. Broadway actors said in a statement that they stand “in solidarity” with SAG-AFTRA workers.

The 11,500 members of the Writers Guild of America have been on strike since their own talks collapsed and their contract expired on May 2. The stoppage has showed no signs of a solution, with no negotiations even planned.

That strike brought the immediate shutdown of late-night talk shows and “Saturday Night Live,” and several scripted shows, including “Stranger Things” on Netflix,” “Hacks” on Max, and “Family Guy” on Fox, which have either had their writers’ rooms or their production paused. Many more are sure to follow them now that performers have been pulled too.
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A sponsor is giving away 20,000 tickets to Women’s World Cup matches in New Zealand as ticket sales remain sluggish in a country in which rugby dominates as the national sport. 

According to FIFA, 1.25 million tickets have been sold for matches across cohosts Australia and New Zealand. Of those 320,000 have been sold to matches in New Zealand, but only six of those matches are close to a sell out. 

On Thursday, the accounting firm Xero, a tournament partner, said it would offer 5,000 free tickets to a match at each of New Zealand’s four venues. 

Women’s World Cup chief executive Dave Beeche told the New Zealand Herald that FIFA is “comfortable” with the current rate of ticket sales in New Zealand. He said sales had picked up in recent weeks as coverage of the tournament had increased. 

“Naturally, there are some games that are experiencing higher demand with the Kiwis and some of the top-ranked teams,” Beeche said, “but we’re happy with how the progress is overall.” 

Last month FIFA’s head of women’s football Sarai Bareman indicated she had some concerns about the pace of ticket sales in New Zealand, despite overall sales being ahead of the 2019 World Cup in France. 

Bareman said sales in Australia have been bolstered by support for the Australian women’s team which is a genuine title contender, while New Zealand’s Football Ferns have never won a World Cup group match. 

A larger problem is that soccer is not generally a widely supported sport in New Zealand and attracting fans to stadiums in the coldest months of the year was always going to be a hard sell. 

New Zealand’s national rugby team, the All Blacks, will play South Africa in Auckland on Saturday in a match which could have been sold out several times over. 
…

HBO dominated Wednesday morning’s Emmy nominations, with the elite trio of “Succession,” “The White Lotus” and “The Last of Us” combining for a whopping 74, but the dominant theme darkening the scene is the ongoing writers strike and the looming possibility that actors may join them in as little as a day.

“Succession” and its deeply dysfunctional dynasty of 1 percenters led all Emmy nominees in its fourth and final season with 27, including best drama, which it has won two of the past three years. It got three nominations for best actor in a drama, with Brian Cox, Jeremy Strong and Kieran Culkin all getting nods for playing men of the Roy clan, and Sarah Snook getting a best actress nomination. It also got four nominations for best supporting actor in a drama.

The cursed vacationers at a Sicilian resort from the second of “The White Lotus” truly dominated the supporting categories, however, landing five nominations for best supporting actress in a drama — including nods for Jennifer Coolidge and Aubrey Plaza — and four more for best supporting actor.

Bella Ramsey and Pedro Pascal, the duo on a fungus-filled quest in ” The Last of Us,” each got lead acting nominations. The show, an adaption of the popular Playstation video game, was second behind “Succession” with 24 nominations. “The White Lotus” had 23.

“Ted Lasso” was tops among comedies with 21 nominations, including best comedy series and best actor for Jason Sudeikis.

The nominations suggested that HBO can still dominate even as streaming-only outlets have taken over so much of elite TV — though the distinction is increasingly blurred, with a huge segment of viewers watching “Succession” and the cable channel’s other offerings on the streaming service now known as Max.

Cox, 77, got his best actor in a drama nod despite appearing in fewer than half of this season’s “Succession” episodes, though as the Roy family patriarch he loomed just as large over the episodes he didn’t appear in. A win would be his first in three nominations for the role, though he won an Emmy for best supporting actor in a TV movie in 2001.

Strong won in 2020 for playing “eldest boy” Kendall Roy. Culkin got his first nomination for best actor after two previous nominations in the supporting category.

Other nominees:

Drama series: “Andor”; “Better Call Saul”; “The Crown”; “House of the Dragon”; “The Last of Us”; “Succession”; “The White Lotus”; “Yellowjackets.”

Comedy series: “Abbott Elementary”; “Barry”; “The Bear”; “Jury Duty”; “The Marvelous Mrs. Maisel”; “Only Murders in the Building”; “Ted Lasso”; “Wednesday.”

Anthology series: “Beef”; “Dahmer – Monster: The Jeffrey Dahmer Story”; “Daisy Jones & the Six”; “Fleishman is in Trouble”; “Obi-Wan Kenobi.”

Best actress in a drama series: Sharon Horgan, “Bad Sisters”; Melanie Lynskey, “Yellowjackets”; Elisabeth Moss, “The Handmaid’s Tale”; Bella Ramsey, “The Last of Us”; Keri Russell, “The Diplomat”; Sarah Snook, “Succession.”

Best actor in a drama series: Jeremy Strong, “Succession”; Bob Odenkirk, “Better Call Saul”; Kieran Culkin, “Succession”; Pedro Pascal, “The Last of Us”; Brian Cox, “Succession”; Jeff Bridges, “The Old Man.”

Best actor in a comedy series: Jeremy Allen White, “The Bear”; Jason Sudeikis, “Ted Lasso”; Bill Hader, “Barry”; Martin Short, “Only Murders in the Building”; Jason Segel, “Shrinking.”

Best actress in a comedy series: Quinta Brunson, “Abbott Elementary”; Rachel Brosnahan, “The Marvelous Mrs. Maisel”; Christina Applegate, “Dead to Me”; Jenna Ortega, “Wednesday”; Natasha Lyonne, “Poker Face.”

Best supporting actress in a comedy series: Sheryl Lee Ralph, “Abbott Elementary”; Ayo Edebiri, “The Bear”; Janelle James, “Abbott Elementary”; Hannah Waddingham, “Ted Lasso”; Juno Temple, “Ted Lasso”; Jessica Williams, “Shrinking.”

Best supporting actor in a comedy series: Anthony Carrigan, “Barry”; Brett Goldstein, “Ted Lasso”; Phil Dunster, “Ted Lasso”; Henry Winkler, “Barry”; James Marsden, “Jury Duty”; Tyler James Williams, “Abbott Elementary”; Ebon Moss-Bachrach, “The Bear.”

Best supporting actor in a drama series: F. Murray Abraham, “The White Lotus”; Nicholas Braun, “Succession”; Michael Imperioli, “The White Lotus”; Theo James, “The White Lotus”; Matthew Macfadyen, “Succession”; Alan Ruck, “Succession”; Will Sharpe, “The White Lotus”; Alexander Skarsgård, “Succession.”

Best supporting actress in a drama series: Jennifer Coolidge, “The White Lotus”; Elizabeth Debicki, “The Crown”; Meghann Fahy, “The White Lotus”; Sabrina Impacciatore, “The White Lotus”; Aubrey Plaza, “The White Lotus”; Rhea Seehorn, “Better Call Saul”; J. Smith-Cameron, “Succession”; Simona Tabasco, “The White Lotus.”

Actors joining movie and television writers on strike would further shut down the industry and be the first time since 1960 that two Hollywood unions are on strike. While show and film releases will continue, work on upcoming projects would cease and the promotional interviews and appearances by actors to support the projects would cease.

The possibility of an industry debilitated by two strikes could dampen any joy for those nominated and could put the damper on the ceremony scheduled for September 18 on the Fox network.

The nominations were announced by “Community” star Yvette Nicole Brown and Television Academy CEO Frank Scherma, who referenced the labor disputes before at the top of Wednesday’s livestream.

“We hope the ongoing guild negotiations can come to an equitable and swift resolution. We are committed to supporting a television industry that stands strong in equity and where we can continue to honor all the incredible work you do,” Scherma said.
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Vietnam’s move to ban the Warner Bros. film “Barbie” from domestic distribution over a scene showing China’s claimed territory in the South China Sea encapsulates an age-old territorial dispute between the two countries, experts said.

A nine-dash line encompassing about 90% of the South China Sea has appeared on Chinese maps since the 1950s. More recently, China has been aggressive about exercising its claimed sovereignty, to the consternation of the other countries bordering the sea.

Among them is Vietnam, which has rejected China’s claim for decades as an illegal violation of its sovereignty and security — a position endorsed by an international tribunal in 2016. 

This week, Hanoi asked Netflix to remove the Chinese-made romance drama series “Flight to You” from its service in Vietnam because multiple episodes showed a map with the nine-dash line. Netflix complied, according to the entertainment media outlet Variety.

Last week, Vietnam also banned the release of the Warner Bros. film “Barbie,” originally scheduled be released in the country next week, because of a scene in the movie showing a map that appears to depict the nine-dash line.

Also last week, Vietnam ordered the inspection of a website of iMe, a promoter of the K-pop girl group Blackpink, which was scheduled to perform its first concert in Hanoi this month. 

‘A strong signal’

Prashanth Parameswaran, the founder of the weekly ASEAN Wonk newsletter and a fellow with the Wilson Center’s Asia Program, said, “Vietnam’s response sends a strong signal that the government does not recognize the legitimacy of the nine-dash line and will take actions to demonstrate its commitment to this.”

Vietnam’s Cinema Department under its Ministry of Culture, Sports and Tourism reviewed all 39 episodes of “Flight to You,” according to Variety, and said a map showing the nine-dash line depicted in nine episodes of “Flight to You” is “inappropriate.”

Regarding the “Barbie” ban, Vi Kien Thanh, head of the Cinema Department, said on July 3 the film “contains the offending images of the nine-dash line.”

About the Blackpink promotor’s website, Le Thanh Liem, inspector of the Ministry of Culture, Sports and Tourism, said on July 5 that the ministry is looking into the matter.

On July 6, Pham Thu Hang, Vietnam’s Foreign Ministry spokesperson, said, “The promotion and usage of products or publications featuring the nine-dash line in Vietnam is a violation of Vietnam’s law and is unacceptable.”

Warner Bros. said on July 6 the dashed lines in the film are a “whimsical, child-like crayon” scribble tracing a “make-believe journey from Barbie Land to the real world” and do not represent China’s nine-dash line.

On the same day, iMe apologized for an “unfortunate misunderstanding” and pledged to replace images that are inappropriate for Vietnamese audiences, according to Tuoi Tre News.

Cleo Paskal, a non-resident fellow for the China Program at the Foundation for Defense of Democracies (FDD), said, “This is a matter of national sovereignty and security to Vietnam — things it perceives as under attack, including from frequent PRC incursions into its waters.”  

China’s official name is the People’s Republic of China (PRC).

Paskal continued, “Vietnam is also signaling to neighbors that standing up to China is imperative.”

Ruling against China

An international tribunal at The Hague ruled in 2016 that China had no legal basis to claim the line as its maritime border.

Based on the ruling, not only Vietnam but the Philippines, Malaysia, Indonesia and Brunei, all countries surrounding the nine-dash line, have been refuting the disputed border.

Bates Gill, executive director for Asia Society’s Center for China Analysis, said via email, “In official maps of the People’s Republic of China (PRC), the so-called ‘nine-dash line’ appears to encircle almost all of the South China Sea, signaling that expansive area within the line belongs to China.”

He continued that aside from Vietnam, “a number of other governments – including Brunei, Indonesia, Malaysia, the Philippines, Taiwan, and Vietnam – also claim territory either within or near the nine-dashed line.”

Chinese ships often make incursions into the exclusive economic zones (EEZ) of these countries to exercise China’s claim on the territory. 

A country’s EEZ extends 200 nautical miles out from its coast. 

The U.S. has been patrolling the South China Sea to exercise the freedom of navigation in the area against Chinese aggressions.

India’s reversal

Late last month, India reversed its previous stance and supported the 2016 ruling in a joint statement released with the Philippines.

Indian External Affairs Minister Subrahmanyam Jaishankar and Philippine Secretary of Foreign Affairs Enrique Manalo said in the statement after their meeting in New Delhi from June 27 to 30 that the dispute over the nine-dash line should be resolved in line with the 2016 ruling. 

At the time, China’s Foreign Ministry described the 2016 ruling as “null and void and has no binding force.”

The Chinese Embassy in Washington on Friday referred the VOA Korean Service to its Foreign Ministry comments when asked about Vietnam’s rejection of the nine dash-line on a map shown in “Barbie.”

“Relevant country should not link the South China Sea issue with normal cultural exchange,” Mao Ning, a spokesperson for the Chinese Foreign Ministry, said on July 4.

Promoting disputed line

According to Bich Tran, a fellow at the Lee Kuan Yew School of Public Policy of the National University of Singapore and an adjunct fellow at the Center for Strategic and International Studies, Beijing has disregarded the international ruling.

“Beijing has actively promoted the line, and due to the size of the Chinese market, companies face pressure to please China by showing the controversial line on their products [or] websites,” Tran said in a video interview.

“In the case of the Blackpink concert, the map was clear, and an apology statement was issued by iMe. It becomes more complicated in the case of Barbie. The map is abstract, but there is a dashed line that reminds people of the nine-dash line,” he continued.

“I believe the film producer wants to have it both ways. On one hand, they can please China and have access to the Chinese market. On the other hand, they make the map so abstract that they have plausible deniability,” Tran said.

China has been engaged in a campaign to promote the disputed dashed line as its southern maritime border through scholarly journal articles as well as items like maps, globes, postcards and T-shirts.

Paskal at the FDD said, “Vietnam know that the PRC starts on the political warfare front — making grand territorial claims based on little fact, then repeats those claims to the point that they become normalized and a challenge to the claims is perceived as an ‘offense’ to China.”

Last year, Vietnam prohibited Sony film “Uncharted” and, in 2019, banned DreamWorks’ animation “Abominable” for showing a map containing the nine-dash line.
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The last time Elina Svitolina was a Grand Slam semifinalist — twice, actually, in 2019 — she was pursuing the usual trappings of success in professional sports: trophies, money, fame, etc.

Now Svitolina plays for more important reasons. For her daughter, Skaï, who was born in October. For her country, Ukraine, where a war that began with Russia’s invasion in February 2022 continues.

And Svitolina firmly believes that those factors affect the way she swings a racket and the way she handles important moments on a tennis court. Enough so that she is one of the last four women remaining at Wimbledon after adding to her series of surprising victories over major champions with a 7-5, 6-7 (5), 6-2 victory against No. 1-ranked Iga Swiatek on Tuesday.

“War made me stronger and also made me mentally stronger. Mentally, I don’t take difficult situations as, like, a disaster, you know? There are worse things in life. I’m just more calmer,” said Svitolina, 28, who once was ranked as high No. 3 and now is No. 76 after taking time off to start a family with her husband, tennis player Gael Monfils.

She returned to the tour three months ago.

“Also, because I just started to play again, I have different pressures,” Svitolina said after kneeling and covering her face with her hands, when Swiatek missed one last forehand at Centre Court. “Of course, I want to win. I have this motivation, like huge motivation, to come back to the top. But I think having a child — and war — made me a different person. I look at the things a bit differently.”

She received a wild-card entry from the All England Club to get into the field and now will face another unseeded player, 42nd-ranked Marketa Vondrousova, for a berth in Saturday’s final.

Vondrousova, the 2019 French Open runner-up, beat fourth-seeded Jessica Pegula.

Swiatek, who was coming off claiming her fourth Grand Slam title at the French Open last month, felt the change in the way Svitolina smacked balls over the Centre Court net. That included a stretch where Svitolina won 20 of 22 points during a stretch that spanned the end of the first set and start of the second.

“She played with more freedom and more guts. Sometimes, she really just let go of her hand,” Swiatek said, pantomiming a forehand, “and she played really, really fast.”

Svitolina certainly did not expect to still be around this deep into the fortnight. She originally wasn’t even planning to get back in action after giving birth until around now. But she and Monfils started working out together on January 2, and Svitolina’s progress was substantial enough that she altered her timeline.

Svitolina’s phone has been inundated by messages of support from her native country, and she’s seen videos of kids there following her matches.

“This really makes my heart melt, seeing this,” she said. “Just happy I could bring a little happiness to the people of Ukraine.”
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Double Olympic champion runner Caster Semenya won an appeal against track and field’s testosterone rules on Tuesday when the European Court of Human Rights ruled she was discriminated against and there were “serious questions” about the rules’ validity.

World Athletics, which enforces the regulations, said in reaction to the decision that its rules would remain in place, however, meaning there would not be an immediate return to top-level competition for the South African runner.

Semenya’s case at the rights court was against the government of Switzerland, and not World Athletics itself, although the decision was still a major moment in throwing doubt on the future of the rules.

Semenya was legally identified as female at birth and has identified as female her entire life, but regulations introduced by track and field’s governing body in 2019 forced her to artificially suppress her natural testosterone to be allowed to compete in women’s competitions.

World Athletics says she has one of a number of conditions known as differences in sex development, which results in a natural testosterone level in the typical male range and which gives her an unfair advantage in women’s competitions.

Semenya has been challenging the testosterone rules in the courts for years, but had previously lost an appeal at sport’s highest court in 2019 and a second challenge against the rules at Switzerland’s supreme court in 2020. That second rejection of her appeal was the reason why the Swiss government was the respondent in the European Court of Human Rights case.

The Strasbourg-based rights court ruled in Semenya’s favor by a 4-3 majority of judges on the complaint of discrimination and noted she was denied an “effective remedy” against that discrimination through the two previous cases she lost at the Court of Arbitration for Sport and the Swiss supreme court.

Tuesday’s ruling was in many ways a criticism of the 2019 decision by CAS. The sports court kept in place the rules that require Semenya and others with so-called differences in sex development conditions, or DSDs, to take birth control pills, or have hormone-blocking injections, or undergo surgery to be allowed to run at top competitions such as the Olympics and world championships.

The rules were initially enforced in certain events but were expanded and made stricter by World Athletics this year. Athletes such as Semenya were forced to lower their testosterone further if they wanted to run in any race.

The decision by the Switzerland-based CAS that rejected Semenya’s first appeal had not properly considered important factors such as the side effects of the hormone treatment, the difficulties for athletes to remain in compliance of the rules, and the lack of evidence that their high natural testosterone actually gave them an advantage, the European rights court said.

An unfair advantage is the core reason why World Athletics introduced the rules in the first place.

The European rights court also found Semenya’s second legal appeal against the rules at the Swiss supreme court should have led to “a thorough institutional and procedural review” of the rules, but that did not happen when that court also ruled against Semenya.

The government of Switzerland was ordered to pay Semenya 60,000 euros ($66,000) in respect of costs and expenses by the European rights court.

Ultimately, the rules have sidelined Semenya since 2019 as she has refused to artificially suppress her natural hormone levels in order to run, and the European rights court noted the “high personal stakes” for Semenya in how the regulations interrupted her career and affected her “profession.”

Tuesday’s decision could force CAS and ultimately World Athletics to re-examine the regulations, although the path and timeline to a possible rollback of the rules is unclear.

In a statement, World Athletics said: “We remain of the view that the DSD regulations are a necessary, reasonable and proportionate means of protecting fair competition in the female category as the Court of Arbitration for Sport and Swiss Federal Tribunal both found, after a detailed and expert assessment of the evidence.”

The 32-year-old Semenya is aiming to run at next year’s Olympics in Paris. She was the 2012 and 2016 Olympic champion in the 800 meters but did not defend her title at the Tokyo Olympics because of the regulations.
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Red Hot Chili Peppers, Ms. Lauryn Hill and Megan Thee Stallion will headline this year’s Global Citizen Festival as the anti-poverty nonprofit looks to focus attention on increasing inequality for girls and young women around the world.

Global Citizen CEO Hugh Evans said the Sept. 23 event at New York’s Central Park will be the centerpiece of his group’s campaign to encourage supporters, especially those in Gen Z, to take action on gender inequality, climate change and other issues.

Studies show that half of Gen Z “feel disillusioned and powerless to make a positive impact,” Evans told The Associated Press in an interview. “As long as you and I have been alive, there was almost this sense of positive momentum in the world that almost felt like the eradication of extreme poverty could be inevitable,” he said. “But the data suggests the world is now getting worse.”

According to the United Nations Population Fund, 257 million women around the world want to avoid pregnancy, but don’t have access to modern contraceptives. The fund’s partnership to provide reproductive health services is currently underfunded by $100 million.

Education Cannot Wait, the United Nations fund that helps ensure nearly 20 million children in crisis continue learning, needs $670 million for its work.

The Global Citizen Festival, which will also include performances from K-pop sensation Stray Kids and singer-songwriter Conan Gray, provides free tickets to the event in exchange for fans taking actions on the group’s app and website that support these goals.

This year, that may mean asking Canada, Norway and Japan to donate more to the United Nations Population Fund. It may mean pushing companies to join the United Nations Race to Zero to set targets for reducing their carbon emissions. Or urging the governments of the United States, United Kingdom, Italy and Australia to provide more funding to vulnerable countries to adapt to climate change.

Global Citizen’s use of supporters to convince political, business and philanthropic leaders to tackle some of the world’s biggest problems is designed to appeal to younger generations, Evans said.

“These are pillars of what we know Gen Z cares about, but often they feel powerless because the data isn’t on their side,” Evans said. “We’re talking to Gen Z in a way that they know their actions can have a scalable impact.”

Singer Angelique Kidjo, who was recently named to this year’s Great Immigrants list by the Carnegie Corporation of New York, said that her Batonga Foundation found that supporting girls and young women ends up strengthening entire villages in her native Benin and throughout Africa.

“Helping women in a community is like starting a rolling stone that never stops rolling,” said Kidjo, adding that it was the women who kept their villages safe during the COVID-19 pandemic by making masks and soap for hand-washing, as well as enforcing social distancing.

Not only will Hill and Megan Thee Stallion provide examples of female empowerment with their performances, but Evans hopes they will encourage their fans to take action during the event, which will be streamed on numerous digital platforms.

“For many decades, the Red Hot Chili Peppers have occupied that space where music and activism meet,” said Evans, adding that the band’s classic “Under the Bridge” was the first song he learned to play on guitar. “We couldn’t be happier with this lineup.”
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