Anne Morrissy Merick, who successfully fought for equal treatment of female reporters during the Vietnam War, has died. She was 83.

Morrissy Merick died May 2 of complications from dementia in Naples, Florida, said her daughter Katherine Anne Engleke.

ABC had assigned Morrissy Merick to cover the war in 1967 when U.S. commander Gen. William Westmoreland ordered that female reporters could not spend the night in the field with the troops. That made it impossible for the female reporters to go on most combat missions, as there would be no way for them to return to the base at night.

She and Overseas Weekly editor Ann Bryan Mariano organized the half-dozen female reporters covering the war to challenge Westmoreland’s order. They appealed to the Defense Department, which overrode Westmoreland.

“An edict like Westmoreland’s would prohibit women from covering the war. It was a knockout blow to our careers. We had to fight,” wrote Morrissy Merick in the book she co-authored in 2002 with eight colleagues, War Torn: Stories of War from the Women Reporters Who Covered Vietnam. Associated Press writer Edith M. Lederer was one of the co-authors.

Morrissy Merick gained national attention in 1954 when she became the first female sports editor of Cornell University’s student newspaper. “This sports writing doll breached the last bastion of masculinity left standing this side of the shower room,” famed sports columnist Red Smith wrote.

After graduation, she became sports editor of the international edition of the New York Herald Tribune.

ABC hired her in 1961 as an associate producer, where she covered the civil rights movement and the space program. She worked for nine months for ABC in Vietnam. While there, she met her husband, U.S. News and World Report reporter Wendell “Bud” Merick. She stayed with him in Vietnam until 1973, when the magazine closed its bureau. He died in 1988.

She married Dr. Don R. Janicek and lived with him in Naples until his death in 2016. She is survived by her daughter, a sister and four granddaughters.
…

It’s not a movie set, but visitors to Disney World’s new Pandora-World of Avatar land are in for a cinematic experience.

The 12-acre land, inspired by the “Avatar” movie, opens in Florida in late May at Walt Disney World’s Animal Kingdom. It cost a half-billion dollars to build.

 

The marquee attraction is Flight of Passage, where a 3-D simulator plunges riders into a cinematic world. You feel like you’re riding on the back of a banshee, a bluish, gigantic, winged predator that resembles something out of the Jurassic era. Wearing 3-D glasses and straddling what resembles a stationary motorcycle, you’re strapped in, then the lights go out, a screen in front lights up and you’re swooped into a world of blue, gigantic aliens called Na’vi, with moon-filled skies, plunging waterfalls, jumping marine animals and towering ocean waves.

 

The ride provides an enchanting and intoxicating five minutes that touches all the senses. Blasts of air and spritzes of mist hit your face, and as you fly through a lush forest, a woodsy aroma wafts through your nostrils. A visitor could go on the ride 20 times and not catch half the visual details.

 

Disney designers are quick to say the new land is the star of the action, not the backdrop. “The character is being portrayed and played by the place itself and that’s different than a set,” said Joe Rohde, the design and production leader of Pandora — World of Avatar.

Flight of Passage is ride’s highlight

Other aspects of Pandora can’t quite compete with the excitement and immersion of Flight of Passage. Much of Pandora, at least during the daytime, is hard to distinguish from the rest of Animal Kingdom, Disney’s almost 20-year-old zoological-themed park with lush landscaping, an emphasis on conservation and a Noah’s ark range of animals.

 

At night, though, Pandora transforms into a sea of color with glowing lights on artificial plants and even in the pavement.

 

The enormous blue Na’vi aliens from the “Avatar” movie appear sparingly, really just on Flight of Passage and a second attraction called Na’vi River Journey. Before going on Flight of Passage, visitors walk through a tunnel in a faux mountain until they stumble upon a laboratory that includes a Na’vi floating in a tank.

 

“It’s not as simple as a guy in a costume painted blue walking around out here,” Rohde said of the aliens. “We know they are culturally present around us but we will meet them when we go on an excursion.”

Indoor river ride

The other main attraction, Na’vi River Journey, is an indoor river ride in the dark, lit up by glowing creatures and plants. The ride culminates with a Na’vi animatronic woman beating on drums as a chorus of voices reaches a crescendo. Images of the Na’vi riding horse-like creatures appear behind lush foliage, glimpsed in the distance from the river.

 

Disney has been building attractions themed on movies since Disneyland opened in 1955 with rides inspired by Snow White, Peter Pan and Alice in Wonderland. Often, as with Pandora, the attractions open years after the movies debut. “Avatar” came out in 2009. Director James Cameron’s sequel isn’t due out until 2020. Lands based on “Star Wars” are scheduled to open in Disney parks in California and Florida in 2019.

 

Pandora-World of Avatar isn’t tied to a narrative from the film but rather tells a story set in the future, after humans degraded the jungle through industrial folly and a resurgence of nature overtakes the human-built environment. That theme is a recurring architectural motif, for example with a beverage stand and cantina made to look like they were built for industry by humans but then overrun by plant life.

A mix of real and artificial plants

 

Throughout Pandora, real plants intermingle with artificial plants that resemble alien pods or Dale Chihuly glass sculptures. It’s difficult to distinguish what is real.

 

“We were trying to get as close as possible to fool the eye,” said Zsolt Hormay, a Disney creative executive.

 

At the entrance, visitors hear a cacophony of bird chirps and animal cries. A circle of drums connected to faux tree roots allows visitors to drum and then get a response of drumming or pulsing lights.

 

The focal points are a 135-foot (41-meter) mountaintop where Flight of Passage is located as well as “floating mountains” that appear to be suspended in air but are actually made of concrete. Engineers use tricks to make the park appear bigger than it is. The artificial foliage gets smaller as it goes higher on the mountain to give it the illusion of distance.

 

 

New way to order food

Disney also is testing out a new way to order food at Pandora. Before going to the park, visitors can pull up a menu on the My Disney Experience mobile app, order lunch and go about visiting the park. When it’s time to eat hours later, they can go to the canteen, tap on an app a button that notifies the cooks they are present. Several minutes later their food will be ready in a special line.

 

Jon Landau, the executive producer of the original movie, says he hopes Pandora does for visitors what the film did for movie-goers.

 

“I hope when people come to Pandora and their eyes will be open and they will look at the world a little differently when they go back across the bridge,” Landau said.

 
…

Neither Bill Clinton nor James Patterson has ever tried something like this before.

 

The former president and the best-selling novelist are collaborating on a thriller, “The President is Missing,” to come out June 2018 as an unusual joint release from rival publishers — Alfred A. Knopf and Little, Brown and Co. In a statement Monday provided to The Associated Press, the publishers called the book “a unique amalgam of intrigue, suspense and behind-the-scenes global drama from the highest corridors of power. It will be informed by details that only a president can know.”

Knopf has long been Clinton’s publisher, and Patterson has been with Little, Brown for decades. “The President is Missing” is the first work of fiction by Clinton, whose best-known book is the million-selling “My Life.” For Patterson, it’s the chance to team up with a friend who knows as well as anyone about life in the White House.

 

“Working with President Clinton has been the highlight of my career, and having access to his firsthand experience has uniquely informed the writing of this novel,” Patterson said in a statement. “I’m a storyteller, and President Clinton’s insight has allowed us to tell a really interesting one. It’s a rare combination — readers will be drawn to the suspense, of course, but they’ll also be given an inside look into what it’s like to be president.”

 

“Working on a book about a sitting president — drawing on what I know about the job, life in the White House and the way Washington works — has been a lot of fun,” Clinton said in a statement. “And working with Jim has been terrific. I’ve been a fan of his for a very long time.”

 

A political release from the 1990s had a similar arrangement: Random House and Simon & Schuster jointly published the nonfiction “All’s Fair” by husband-and-wife campaign consultants James Carville and Mary Matalin.

 

Knopf and Little, Brown declined to offer any more details about the book, including whether it refers to President Donald Trump, who last fall defeated Clinton’s wife, Hillary Clinton. Financial terms for the novel, which the authors began working on late in 2016, were not disclosed. Clinton and Patterson share the same literary representative, Washington attorney Robert Barnett, who negotiated the deal. “The President is Missing” will be co-written, co-published and co-edited — Knopf Doubleday Publishing Group chairman Sonny Mehta is working on the manuscript with CEO Michael Pietsch of Hachette Book Group, the parent company of Little, Brown.

 

“This is a blockbuster collaboration between two best-selling authors,” Mehta and Pietsch said in a joint statement, “and the pages we’ve read to date are riveting, full of intricate plotting and detail. This is a book that promises to entertain and delight millions of readers around the world, and we are thrilled to be working on it together and with our esteemed houses supporting us.”

 

Presidents and ex-presidents have been turning out books for a long time, but novels are rare. Jimmy Carter, a prolific and wide-ranging author since leaving the White House in 1981, released the historical novel “The Hornet’s Nest” in 2003. A presidential daughter, Margaret Truman, had a successful career with her “Capital Crime” mystery series.

 

Clinton’s other books include “Giving” and “Back to Work.” Patterson and various co-authors complete several works a year, ranging from young adult novels to the Alex Cross crime series.

 

Penguin Random House — which has published both Clinton and Patterson — has U.K., Commonwealth and European rights to the collaboration.

 

“This unprecedented collaboration with its compelling mix of insider knowledge and edge-of-the-seat suspense is utterly irresistible,” said Susan Sandon, divisional managing director at Penguin Random House in a statement.

 
…

An Iranian student who happens to look uncannily like soccer great Lionel Messi, nearly ended up in jail for disrupting public order.

A photo event in Reza Paratesh’s home town of Hamedan attracted so many fans that police had to close it down, according to AFP.

Paratesh’s brush with fame came after his father convinced him to pose for a photo wearing Messi’s number 10 Barcelona jersey and send it to a sports website.

That worked out well as Paratesh became a popular television guest and even got a modeling job.

“Now people really see me as the Iranian Messi and want me to mimic everything he does. When I show up somewhere, people are really shocked,” he said. “I’m really happy that seeing me makes them happy and this happiness gives me a lot of energy.”

Paratesh is not a professional soccer player, but he’s reportedly working on some dribbling tricks to make his impersonation more realistic.

He said he’d like to meet Messi face to face someday.

“Being the best player in footballing history, he definitely has more work than he can handle. I could be his representative when he is too busy,” he said.
…

Pepe, the green, cartoon frog who some believed was a symbol of white supremacy, is dead.

The creation of cartoonist Matt Furie, Pepe was shown in a recent comic strip dead in an open casket with his imaginary friends gathered around to mourn his death.

Pepe first appeared online around 2005, and was associated with the phrase “feels good man.” The character was the subject of countless memes, most of which were innocuous and apolitical.

During the brutal 2016 U.S. presidential campaign, many Donald Trump supporters used images of Pepe for political memes.

One prominent example of a Pepe meme was posted by Donald Trump Jr. It had a photoshopped version of the movie poster for “The Expendables” showing instead Donald Trump, Rudy Giuliani, alt-right icon Milo Yiannopoulos and Pepe the Frog branded as “The Deplorables,” in reference to Democratic candidate Hillary Clinton’s claim that many Trump supporters were deplorable.

In response to that and other memes which showed the frog with a Hitler moustache and another in which the frog donned the white robes of the Ku Klux Klan, the Anti-Defamation League declared the green frog a hate symbol, saying it had been appropriated to express racist views on the internet.

“The mere fact of posting a Pepe meme does not mean that someone is racist or white supremacist,” the ADL said. “However, if the meme itself is racist or anti-Semitic in nature, or if it appears in a context containing bigoted or offensive language or symbols, then it may have been used for hateful purposes.”

At the time, Furie attempted to launch a “save Pepe” campaign, telling Time magazine “It’s completely insane that Pepe has been labeled a symbol of hate […] but in the end, Pepe is whatever you say he is, and I, the creator, say that Pepe is love.”
…

Film hit Beauty and the Beast and Netflix newcomer Stranger Things were the night’s big winners with two trophies apiece as MTV partied with its Movie & TV Awards show.

For this, the 26th edition of what was formerly known as the MTV Movie Awards, TV was added to the mix. Stranger Things was decreed the Show of the Year, and its cast member, Millie Bobby Brown, was named Best Actor in a Show.

Beauty and the Beast was the Movie of the Year, with its star, Emma Watson, the Best Actor in a Movie.

But the awards had another trick up its sleeve, introducing a policy of breaking down gender barriers, as men and women competed jointly in the acting categories.

The policy was put into practice at the top of the show by presenter Asia Kate Dillion, who proudly noted she has been able to break down gender barriers as “the first openly non-binary actor to play an openly non-binary actor on a major TV show,” Showtime’s drama series Billions. (A non-binary person is someone who doesn’t identify with either gender.) Then she presented the award to Watson.

“Acting is about the ability to put yourself in someone else’s shoes, and that doesn’t need to be separated into two different categories,” Watson said in receiving her trophy,

Despite glowering skies and dime-size hailstones, MTV was heralding the start of the summer viewing season with its annual shindig. The red carpet outside Los Angeles’ Shrine Auditorium became a swamp as luminaries made their water-logged arrival for the shindig. But inside, it was dry (except for flowing cocktails among audience members) as Adam Devine hosted the proceedings.

Tongue-in-cheek, Devine described himself as a progressive personality fully equal to the night’s high-minded theme.

As the caption “Adam Gets It” flashed on the screen, Devine declared, “I love Hugh Jackman. But I call him Hugh Jack-PERSON.”

And turning to Beauty and the Beast, he said, “I call it `Multidimensional woman with her own dynamic traits, and the beast.’ ”

The show maintained its traditional irreverence with awards recognizing the best duo (Jackman and Dafne Keen of the film Logan), best villain (Jeffrey Dean Morgan, The Walking Dead), best tearjerker (hit TV drama This Is Us), and best kiss (Ashton Sanders and Jharrel Jerone of Moonlight).

That last award was presented by co-stars of the film smash Get Out: a very blond Allison Williams in shimmering miniskirt, alongside a nervous-looking Lil Rey Howery.

“Are you scared of me?” Williams asked him.

“I’m AFRAID — that’s the word I’m going to use,” Howery said.

“Ever since the movie came out,” said Williams, “for the last couple of months …

 ” … Black dudes don’t mess with you,” said Howery, whose character in the film has good reason to be scared of hers.

A new award, Best Fight Against the System, went to the film Hidden Figures, which tells the story of a team of African-American women mathematicians who served a vital role at NASA during the space program’s early years.

The mission of the filmmakers, said one of its stars, Taraji P. Henson, was to dispel a certain deep-seated social myth “so another young girl wouldn’t grow up thinking that her mind wasn’t capable of grasping math and science.”

The cast of the Fast and Furious franchise received the Generation Award, accepted by Vin Diesel, who thanked a generation of fans “willing to accept this multicultural franchise, where it didn’t matter what color your skin was or what country you are from — when you’re family, you’re family.”

Trevor Noah of Comedy Central’s The Daily Show was named Best Host.

“There is one person I aspire to be every single day,” he said, “and that is my mom: a powerful, strong black woman who never listened when people told her she couldn’t be more.”

Then, among his thanks, he voiced gratitude to President Donald Trump “for the comedy.”

Even one of the night’s biggest awards couldn’t escape a bit of mischief-making. Presenting Movie of the Year, Amy Schumer and Goldie Hawn comically bobbled the title (a la the Oscars), first announcing La La Light, then Moonland. Then they got it right: Beauty and the Beast.
…

Steven Holcomb was simultaneously ordinary and remarkable.

America’s best bobsled pilot was a self-described computer geek who would rub elbows with Hollywood stars. He was never exactly in the best of shape, yet was a world-class athlete. He attempted suicide years ago, then revealed his story with hopes of helping others. He was a man who nearly went blind, then became an Olympic gold medalist.

His life was the epitome of a bobsled race, filled with twists and turns.

‘Huge loss, huge loss’

It came to a most unexpected end Saturday in Lake Placid, New York, when he was found dead in his room at the Olympic Training Center, sending shock waves through the U.S. Olympic community, and devastating those who had known Holcomb for the entirety of his two-decade career in sliding.

The three-time Olympian, three-time Olympic medalist and five-time world champion was 37.

“The only reason why the USA is in any conversation in the sport of bobsled is because of Steve Holcomb,” said U.S. bobsled pilot Nick Cunningham, who roomed next to Holcomb in Lake Placid. “He was the face of our team. He was the face of our sport. We all emulated him. Every driver in the world watched him, because he was that good at what he did. It’s a huge loss, huge loss, not just for our team but for the entire bobsled community.”

No cause of death was immediately announced. However, officials said there were no indications of foul play after the preliminary parts of an ongoing investigation were completed.

An autopsy was scheduled for Sunday. Funeral arrangements are expected to be finalized in the coming days.

“USA Bobsled and Skeleton is a family and right now we are trying to come to grips with the loss of our teammate, our brother and our friend,” federation CEO Darrin Steele said.

Vancouver moment

Holcomb was a native of Park City, Utah, and his signature moment came at the 2010 Vancouver Games when he piloted his four-man sled to a win that snapped a 62-year gold-medal drought for the U.S. in bobsled’s signature race.

Holcomb also drove to bronze medals in both two- and four-man events at the Sochi Games in 2014, and was expected to be part of the 2018 U.S. Olympic team headed to the Pyeongchang Games.

“The entire Olympic family is shocked and saddened by the incredibly tragic loss today of Steven Holcomb,” U.S. Olympic Committee CEO Scott Blackmun said. “Steve was a tremendous athlete and even better person, and his perseverance and achievements were an inspiration to us all. Our thoughts and prayers are with Steve’s family and the entire bobsledding community.”

Holcomb was still one of the world’s elite drivers, finishing second on the World Cup circuit in two-man points and third in four-man points this past season.

A mass of medals

The final victory of his career was last December in Lake Placid. He won 60 World Cup medals in his career, 10 more at the world championships and three in the Olympics, making him one of the most decorated pilots in the world.

“You will be loved, missed and remembered forever,” U.S. women’s pilot Jamie Greubel Poser wrote on Twitter.

Holcomb was cherubic, almost always happy in public, someone whose sense of humor was well-known throughout the close-knit bobsled world. Teammates even spent a season chronicling his “Holcy Dance,” a little less-than-rhythmic shuffle that he would do at each stop on the World Cup circuit to make fellow sliders laugh.

Troubled side

But there was also a troubled side, including battles with depression and alcohol, plus a failed hotel-room suicide attempt involving sleeping pills in 2007 which he wrote about in his autobiography, “But Now I See: My Journey from Blindness to Olympic Gold.”

“After going through all that and still being here, I realized what my purpose was,” Holcomb told the AP in a 2014 interview.

The depression, he believed, largely stemmed from his fight with a disease called keratoconus. Holcomb’s vision degenerated to the point where he was convinced that his bobsled career was ending, and his mood quickly started going dark as well.

His eyesight was saved in a surgery that turned his 20-500 vision into something close to perfect, and his sliding career took off from there.

Winning gold with push athletes Steve Mesler, Curt Tomasevicz and Justin Olsen at the Vancouver Olympics turned Holcomb into a full-fledged star. 

In the months that followed, Holcomb met President Barack Obama, played golf with Charles Barkley, hung out with Tom Cruise and Katie Holmes — they were then a couple — visited the New York Stock Exchange, threw the ceremonial first pitch at a Cleveland Indians game and went to the Indianapolis 500.

In the bobsled world, he was larger than life.

“We’re all still in shock,” Cunningham said. “I don’t know if mourning will happen for a long time, because the shock part will take a while.”
…

Always Dreaming splashed through the slop to win the Kentucky Derby by 2¾ lengths Saturday, giving trainer Todd Pletcher and jockey John Velazquez their second victories in the race but their first together.

Pletcher and Velazquez have teamed up often over the years and are the sport’s leading money winners. On their own, they were a combined 2 for 63 coming into America’s greatest horse race. Pletcher won in 2010 with Super Saver; Velazquez won the following year with Animal Kingdom.

Together, they were unbeatable on a cool and rainy day at Churchill Downs.

Sent off at 9-2 odds, Always Dreaming made it the fifth straight year that a Derby favorite has won, the longest such stretch since the 1970s.

Always Dreaming was followed across the finish line by a pair of long shots: 33-1 Lookin At Lee and 40-1 Battle of Midway.

Always Dreaming ran 1¼ miles in 2:03.59 and paid $11.40, $7.20 and $5.80.

Lookin At Lee returned $26.60 and $18.20, while Battle of Midway was another five lengths back in third and paid $20.80 to show.

Classic Empire finished fourth, followed by Practical Joke, Tapwrit, Gunnevera, McCraken, Gormley and Irish War Cry. Hence was 11th, followed by Untrapped, Girvin, Patch, J Boys Echo, Sonneteer, Fast and Accurate, Irap, and State of Honor.

Pletcher also trains Tapwrit and Patch.

Thunder Snow, the Dubai-based entry, didn’t finish. He broke poorly out of the starting gate and began bucking. He was caught by the outrider and he walked back to the barn on his own.
…

Thunderstorms and wind had delayed the Hindenburg’s arrival in New Jersey from Germany on May 6, 1937. The father of 8-year-old Werner Doehner headed to his cabin after using his movie camera to shoot some scenes of Lakehurst Naval Air Station from the airship’s dining room.

“We didn’t see him again,” recalled Doehner, now 88 and the only person left of the 62 passengers and crew who survived the fire that killed his father, sister and 34 other souls 80 years ago Saturday.

Doehner and his parents, older brother and sister were returning from a vacation in Germany and planned to travel on the 804-foot-long Hindenburg to Lakehurst, then fly to Newark and board a train in nearby New York City to take them home to Mexico City, where Doehner’s father was a pharmaceutical executive.

The children would have preferred the decks and public rooms of an ocean liner because space was tight on the airship, Doehner said in a rare telephone interview this week with The Associated Press from his home in Parachute, Colorado.

Their mother brought games to keep the children busy. They toured the control car and the catwalks inside the hydrogen-filled Hindenburg. They could see an ice field as they crossed the Atlantic Ocean, he remembered.

As the Hindenburg arrived at its destination, flames began to flicker on top of the ship.

Hydrogen, exposed to air, fueled an inferno. The front section of the Hindenburg pitched up and the back section pitched down.

“Suddenly the air was on fire,” Doehner said.

“We were close to a window, and my mother took my brother and threw him out. She grabbed me and fell back and then threw me out,” he said.

“She tried to get my sister, but she was too heavy, and my mother decided to get out by the time the zeppelin was nearly on the ground.”

His mother had broken her hip.

“I remember lying on the ground, and my brother told me to get up and to get out of there.” Their mother joined them and asked a steward to get her daughter, whom he carried out of the burning wreckage.

A bus took the survivors to an infirmary, where, Doehner said, a nurse gave him a needle to burst his blisters.

From there, the family was taken to Point Pleasant Hospital. Doehner had burns to his face, both hands and down his right leg from the knee. His mother had burns to her face, both legs and both hands. His brother had several burns on his face and right hand.

His sister died early in the morning.

He would remain in the hospital for three months before going to a hospital in New York City in August for skin grafts. He was discharged in January, and the boy, a German speaker, had learned some English.

“Burns take a long time to heal,” he said.

The family returned to Mexico City, where funerals were held for Doehner’s father and sister, who were among the 35 fatalities of the 97 passengers and crew aboard the airship. A worker on the ground also died.

The U.S. Commerce Department determined the accident was caused by a leak of the hydrogen that kept the airship aloft. It mixed with air, causing a fire. “The theory that a brush discharge ignited such mixture appears most probable,” the department’s report said.

Eight decades later, Doehner is the only one left to remember what it was like on the Hindenburg that night. A ceremony commemorating the disaster will take place at the crash site Saturday night.

“Only two others who ever flew on the airship are alive,” said Carl Jablonski, president of the Navy Lakehurst Historical Society. “But they weren’t on the last flight.”

Interest in the disaster remains strong as ever, Jablonski said.

“The internet and social media has exposed and attracted the interest of a younger generation,” he said.

The Hindenburg, Doehner said, is “something you don’t forget.”
…

The U.S. Kentucky Derby, the first of three major yearly horse races in the United States, will take place on Saturday with rain in the forecast, adding another variable to an already unpredictable race.

The 20-horse field lacks a clear dominant horse following winter preparatory races, and the 40 percent chance of rain predicted for Saturday could create a sloppy track ripe for an underdog victory.

The last four Derby races have all been won by the favorite. However, without a dominant runner in the race, spectators and betters are also looking at the possibility of a long-shot win this year.

Classic Empire, at odds of 4-1, is the narrow pre-race favorite in the opener of the U.S. Triple Crown, held at Churchill Downs in Louisville, Kentucky.

Two horses, Always Dreaming and McCraken, are the co-second choices at 5-1.

The underdogs include Patch, rated 30-1, a one-eyed horse who drew starting gate number 20, the farthest outside gate. Patch will not be able to see any of his competition at the start of the race because of his left eye patch and lane draw.  

Patch’s trainer, Todd Pletcher, also has two other horses in the race, 5-1 shot Always Dreaming, and 20-1 odds Tapwrit.

Another trainer, Steve Asmussen also has three horses in the race, all long shots.

Bob Baffert, a four-time derby winner not competing in this year’s event, told the Associated Press there is “a lot of parity” in this year’s race, but it was hard for him to pick a winner.

“I think Classic Empire is probably the best horse in the race. Todd’s horse has brilliance, Always Dreaming. If they can get him figured out, he could steal it. The rest are bombers,” he said.

 
…

J.K. Rowling is launching a free online book club for fans and newcomers to her “Harry Potter” series.

The Wizarding World Book Club will launch in June in celebration of the 20th anniversary of “Harry Potter and the Philosopher’s Stone,” the first in what would become a seven-book series.

The online community “aims to surprise and delight those who have never read a Harry Potter book, as well as returning readers who want to join the conversation,” says Pottermore, Rowling’s digital publishing arm.

The club says its goal is to “create a global community of Harry Potter readers who are communicating with each other as they are reading the same book, at the same time.”
…

Eliud Kipchoge was 26 seconds from making history Saturday but the Olympic champion finished just short of becoming the first person to run a marathon in less than two hours. 

 

Kipchoge ran the 26.2 miles (42.2 kilometers) in 2 hours, 26 seconds, beating Dennis Kimetto’s world mark of 2:02:57.

 

The 32-year-old Kenyan did break his personal best time of 2:03:05, which was set at the London Marathon last year.

 

Organizers first listed his time as a second faster, then changed it to 26 seconds off the 2-hour mark.

The attempt at Monza’s Formula One race course did not go down as an official world record, sanctioned by the IAAF, because of variables like pacers entering midrace and drinks being given to runners via mopeds. 

 

And, after three years of planning, Nike’s audacious attempt at breaking the two-hour barrier remained just that, despite the aid of a shoe that designers say will make runners 4 percent more efficient.

 

Two-time Boston Marathon winner Lelisa Desisa, from Ethiopia, and Eritrean half-marathon world-record holder Zersenay Tadese were also part of the Breaking2 project, which started at 5:45 a.m., but finished well off the pace.

The 32-year-old ran his trademark relaxed style and passed the halfway mark in 59:54, but his average pace of 4:36 per mile was just not enough, despite his final sprint to the tape.
…

Giacomo Puccini’s Madame Butterfly comes to the Kennedy Center in Washington with Albanian-American soprano Ermonela Jaho playing the title role. Jaho is fast becoming one of the most sought-after sopranos in the world. She credits her success to her emotional surrender to every role, including Puccini’s masterpiece, which she says is rooted in her own origin. VOA’s Keida Kostreci reports.
…

In 1971, 24 years after Jackie Robinson broke the color barrier by becoming the first African-American baseball player, the Pittsburgh Pirates made history by fielding the first all minority team. As VOA’s Kane Farabaugh reports, the Pirates continue to break ground for Major League Baseball, now by looking beyond borders to find new talent for America’s pastime.
…

In Aleppo, Syria, even as Bashar al-Assad’s regime destroys the city and its inhabitants with barrel bombs and airstrikes, many civilians risk their lives to rescue the injured and pull the dead from the rubble. Since 2013, these volunteers from all walks of life have created the Syrian Civil Defense, known to the world as The White Helmets. 

In his documentary, Last Men in Aleppo, Syrian filmmaker Feras Fayyad delivers an unprecedented testimonial of their sacrifices and love for their besieged city. While bombs explode all around, White Helmets set off in their makeshift van, siren on, speeding to the latest site of destruction.

Khaled is the main character, and though by no means the only hero, one gets attached to his stoic persona. Khaled is calm, a rock of strength to his community, a loving father to his two lively children. 

We follow his gaze as he looks to the sky, eyeing the approaching bombers. Sometimes, they are Assad’s, other times, they are Russian. The locals can tell them apart easily. Every sighting portends new attacks and death. 

After the bombs drop

In the middle of a city in ruins, Khaled is one of the last men left in Aleppo to drag the injured and the dying from under tons of concrete.

They dig with shovels, with their hands, with everything they’ve got. One of the most emotionally draining scenes is the gentle pulling of an infant from under the debris. The White Helmets drag the child out, head first, through a sharp jagged hole of a collapsed building. The baby is bleeding and powdered with dust, but he’s alive. 

Other children are not that lucky. The camera focuses steadily as they are dragged out, while people scream, sob and rush to cradle the small, limp bodies.

Sundance award

Filmmaker Feras Fayyad won one of the top awards at the Sundance Film Festival for Last Men in Aleppo. But he does not take full credit. The recording of these scenes was the work of a group of cinematographers, The Aleppo Media Center, who followed the White Helmets day and night under relentless bombings. 

Fayyad said he wanted to call attention to the crimes against humanity committed in the city. He also wanted to show the world that these civilians who face death every day and live their lives in constant fear are no different than the rest of us.

“There are markets, houses with families, people who fight for common values,” he said. “No one is acting and the Syrians feel despondent. People did not choose this life. These people did not join ISIS. These people try to live,” he said.

Last Men in Aleppo focuses on those Syrians who chose to stay. Like Khaled.

He is very aware of the dangers his wife and children face daily. But he doesn’t want to run. He tells his friend Abu Yousef, another White Helmet, that refugees are treated inhumanely and fears that if he sends his kids away they could face a dire fate without him, and that he might never see them again. 

“This is my city. I was born and raised here. Should I leave it to some stranger? I will not leave,” he said.

Fayyad’s documentary is an indictment of crimes against humanity. But it is also about compassion and resilience. In the middle of destruction, people still find joy among friends and family.

Targeting civilians 

“This was one of the reasons that motivated me to make the story, the killings of civilians,” Fayyad said. “I started with the idea that the war brings out the worst in humans but also brings the best in humans.”

Fayyad started filming the siege of Aleppo in 2013. He said he was arrested and imprisoned twice and had to leave the city. He could not return because, “a huge number of people were being killed then by Russian bombings.” 

After that, he employed the help of others, such as The Aleppo Media Center, video journalists and citizen journalists, who under his instructions would pick up a camera and document life and death in Aleppo. Nowadays, he lives in exile. He would face death should he return to Syria.

“I have the feeling of anger for the Russians, of course. I have the feeling of anger for the regime killing the Syrians every day. Now I’m sitting here in the studio and there are bombings in places next to my family that is still living in Syria and I could lose my family any time,” he said. 

When asked if he was surprised by reports that Assad had gassed his own people, he said, “not at all.”

The film may be hard to watch but it must be watched. And though painful, it is also uplifting, depicting the altruism that cannot be smothered. 

While Last Men in Aleppo focuses on those Syrians who choose to stay in their war-torn country, it also helps us empathize with those who leave. During the filming of this documentary, Khaled, like countless others, was killed saving his neighbors.
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In Aleppo, Syria, while the Assad regime destroyed the city and its inhabitants, many civilians risked their lives to rescue the injured and pull the dead from the rubble. Since 2013, these volunteers have created the Syrian Civil Defense, known as The White Helmets. Syrian filmmaker Feras Fayyad delivers a testimonial of their sacrifices. VOA’s Penelope Poulou spoke with Fayyad.
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Donkey Kong, the iconic 1980s video game, has been inducted into the World Video Game Hall of Fame.

According to the Strong Museum of Play in Rochester, New York, the arcade game quickly sold over 100,000 units in the United States alone, in addition to unknown quantities of home versions.

Donkey Kong was the creation of Nintendo’s Shigeru Miyamoto, who was a relatively unknown employee when he came up with the idea in 1981.

The game centered around a hero who must jump barrels, climb ladders, smash fireballs and battle a monster ape in order to save his love.

The hero, originally called Jumpman, was a particularly popular aspect of the game and later morphed into Mario, a character featured in dozens of games today.

“His telltale outfit, bristling mustache, and joyous jumps made Mario an icon of popular culture,” the museum said in a news release.

Donkey Kong was joined by Halo: Combat Evolved and Street Fighter II, which were also given places in the museum’s permanent exhibit. Other games honored in the past include Sonic the Hedgehog, The Sims, Doom, Pong and World of Warcraft. Microsoft’s iconic solitaire was nominated, but did not win a spot.

Anyone can nominate games for consideration, but the final choice is made by journalists, academics and gaming experts.
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A multimillion-dollar development project outside Washington has been put on hold pending an archaeological investigation to determine if the project is being built on top of a historically significant century-old black cemetery. VOA’s Chris Simkins reports from Bethesda, Maryland, that a fight over the site has uncovered the history of a mostly forgotten African American community.
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Three young Ethiopian girls use their superpowers to stop harmful practices against girls in rural areas and to promote access to school. That is the story behind “Tibeb Girls,” a new animated series developed in Ethiopia.

“Tibeb Girls” is the first animated cartoon in which Ethiopian girls play not only the lead characters, but are also portrayed as superheroes. “Tibeb” means wisdom in Amharic.

“For me, it was very important to have girls who look like me and who look like my child to be on the screen playing very good role models,” said Bruktawit Tigabu, who created “Tibeb Girls.”

The animated cartoon breaks taboos by discussing things such as menstruation and, in the first episode, the lead characters save a girl from child marriage.

Bruktawit screens the show at schools and events around Ethiopia.

“Most of the issues we are raising are not well discussed in the community or in school or in the house,” she said. “So that is another inspiration to really break the taboo and give them a very entertaining, but also engaging way to talk about very serious subjects.”

The animated series is produced in Addis Ababa with a team of voice actors, artists and writers.

Representing and empowering girls is a big responsibility. Therefore the writers, such as Mahlet Haileyesus, put a lot of preparation into an episode.

“We try to include everybody, like the relevant stakeholders, government bureaus, specific target groups,” said Mahlet Haileyesus, one of the show’s writers. “And then once the synopsis is developed, we do prototyping, which means we go to the field and test it.”

“Tibeb Girls” is also published as a comic strip that Meaza Takele reads to her young children each night before they go to bed.

“When I ask my children why they love the cartoon, they say it’s because now they have a cartoon that is Ethiopian and where their own language is spoken,” she said.

Creator Bruktawit hopes to raise funds to further develop the TV show, as she tries to sell the first season to broadcasters in Ethiopia and other African countries where young girls face the same issues.
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Laura Poitras announces early in her Julian Assange documentary Risk: “This is not the film I thought I was making.”

“I thought I could ignore the contradictions,” the Oscar-winning Citizenfour filmmaker says in a voiceover. “I thought they were not part of the story. I was so wrong. They are becoming the story.”

Decoding “the story” when it comes to the WikiLeaks founder has never been easy. It’s evolving even now, just as Poitras’ six-years-in-the-making documentary — one made with rare access to an explosively controversial figure under ever-increasing international pressure — is hitting theaters. 

Following WikiLeaks publishing of a trove of CIA hacking documents in March, the Department of Justice is reportedly preparing to seek the arrest of Assange, who has been holed away in the Ecuadorean Embassy in London for nearly five years to avoid extradition to Sweden. On Tuesday, Hillary Clinton blamed “Russian WikiLeaks” for swaying November’s election by publishing hacked emails from the Democratic National Committee. (Assange, responding Wednesday on Twitter, told Clinton to “Blame yourself.”)

Also on Wednesday, FBI director James Comey, testifying before the Senate Judiciary Committee, said the FBI had “high confidence” Russia was behind the DNC hacking. Comey said WikiLeaks was publishing damaging “intelligence porn.” Assange responded Thursday on Twitter, accusing Comey of lying during his testimony.

‘Very complex picture’

Poitras, whose Citizenfour went behind the headlines to reveal NSA whistle-blower Edward Snowden, initially hoped that Risk would do something similar for Assange. She was making an intimate documentary about a brave visionary who risks everything in his crusade to make governments transparent. But, like many others who have been confounded by the WikiLeaks founder, Poitras underwent an evolution in her opinion of Assange. It’s a journey she documents in the film, running right up until now.

“The ambivalence and struggle, I share that. I did try to let the audience see a very complex picture. And I grapple with it,” Poitras said in an interview Tuesday. “For me, I absolutely support and defend their right to publish and I think that they have brought forward extraordinarily important information through their publishing. And I’m also disturbed by some of the things that are said in the film and I didn’t want to exclude those things. That’s not my job, to paint a simplistic portrait.”

Poitras first contacted Assange in 2010 after WikiLeaks published the Collateral Murder video, which showed a U.S. helicopter in Iraq shooting several men, including two Reuters journalists. Poitras, who became focused on making films about post-9/11 surveillance, was welcomed into Assange’s inner circle. Risk captures some of the inside drama behind many earth-shattering WikiLeaks publications; it opens with Assange trying to reach Clinton at the State Department ahead of the imminent leak of thousands of diplomatic cables.

It also shows Assange in a bracingly intimate, sometimes surreal way: getting his hair cut by his loyal followers; disguising himself before fleeing to Ecuador’s embassy; being interviewed by Lady Gaga. There are hints, too, of the accusations that have often followed him, like that he runs WikiLeaks like its own intelligence agency.

Early reaction to film

Poitras first premiered the film a year ago at the Cannes Film Festival, where it was received largely positively. But some questioned whether Poitras was too closely aligned with her subject. Variety wondered if it was a “glorified fan film.” The Guardian labeled it “an embedded report that sacrifices impartiality for access.”

“I never define myself as an activist. I define myself as a journalist and a filmmaker,” said Poitras. “There’s a long tradition of journalism that’s first-person perspective. I don’t think that journalism is by definition activism. I think it’s just stories that are told from a subjective point of view.”

But developments that followed that premiere led Poitras to recut her film. She added the voiceovers that question and occasionally distance herself from Assange. She updated the film to include the DNC leak and allegations of a Russian connection, and even late last month went back in to include Attorney General Jeff Sessions vow to make Assange’s arrest “a priority.”

Numerous alleged victims also came forward to accuse Jacob Appelbaum, a WikiLeaks insider and significant personality in the film, of sexual harassment and bullying. (Appelbaum has denied it.) Poitras added to the film her acknowledgement of a previous relationship with Appelbaum and said he was abusive to someone close to her after their relationship ended. A representative for Appelbaum didn’t respond to a request for comment about the film or abuse allegations.

Slate, however, still criticized the updated Risk as “what happens when a filmmaker gets too close to her subject.” Yet Risk also repeatedly shows questionable behavior by Assange. In one scene he calls the rape allegation in Sweden, which he has denied, “a thoroughly tawdry radical feminist political positioning thing.”

Assange calls film ‘a threat’

Poitras has shown him multiple cuts of the film. Before the Cannes screening, he texted her that he considers Risk “a threat” to him personally.

“There were pressuring demands that I remove scenes from the film — that I didn’t — that involved what he was talking about in terms of the Swedish case,” said Poitras. “I don’t think he has legitimate reason to [perceive the film as a threat].” 

Assange and WikiLeaks also did not respond to requests for comment.

Citizenfour came about while Poitras was working on Risk. She was contacted by Snowden, who said he wanted to leak NSA documents to her, and she put him in touch with reporter Glenn Greenwald and documented their clandestine meetings in a Hong Kong hotel room.

“I got pulled into the story in a way that I never anticipated. Being pulled into the story led to all different types of conflicts and shifting relationships that happened that are in the film,” said Poitras. “I’m part of the story now.”

She nearly abandoned the Assange project but, convinced of its value to history, eventually returned to it.

“This is a moment of shifting power dynamics and how the internet is impacting that, for better and for worse,” said Poitras. “We have a president now who communicates through Twitter. The film, I think, is trying to capture that historical moment.”
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