New York — Jonathan Majors was convicted Monday of assaulting his former girlfriend after a trial that he hoped would vindicate him and restore his status as an emerging Hollywood star. It did just the opposite: Marvel Studios and the Walt Disney Co. dropped him hours after the verdict.

A Manhattan jury found Majors, 34, guilty of one misdemeanor assault charge and one harassment violation stemming from his March confrontation with then-girlfriend Grace Jabbari. She said he attacked her in a car and left her in “excruciating” pain; his lawyers said Jabbari was the aggressor.

Majors, who was acquitted of a different assault charge and of aggravated harassment, looked slightly downward and showed no immediate reaction as the verdict was read. He declined to comment as he left the courthouse.

His lawyer, Priya Chaudhry, said in a statement that he “still has faith in the process and looks forward to fully clearing his name.” While he was convicted of an assault charge that involves recklessly causing injury, she said his team was grateful for his acquittal on the other assault count, which concerned intentionally causing injury.

“Mr. Majors is grateful to God, his family, his friends and his fans for their love and support during these harrowing eight months,” Chaudhry said.

Marvel and Disney immediately dropped the “Creed III” star from all upcoming projects following the conviction, said a person close to the studio who spoke on condition of anonymity because he wasn’t authorized to speak publicly on the matter.

Before his arrest, Majors had been on track to become a central figure throughout the Marvel Cinematic Universe, playing the antagonist role of Kang. Majors had already appeared in “Ant-Man and the Wasp: Quantumania” and the first two seasons of “Loki.” He was to star in “Avengers: The Kang Dynasty,” dated for release in May 2026.

Majors, whose credits include “The Last Black Man in San Francisco,” “Devotion” and “Da 5 Bloods,” had been one of the fastest-rising stars in Hollywood. The Yale School of Drama graduate also starred as a troubled amateur bodybuilder in “Magazine Dreams,” which made an acclaimed debut at the Sundance Film Festival in January and was set to open in theaters this month. Ahead of Majors’ trial, Disney-owned distributor Searchlight Pictures removed “Magazine Dreams” from its release calendar.

Majors’ sentencing was set for Feb. 6. He faces the possibility of up to a year in jail for the assault conviction, though probation or other non-jail sentences also are possible.

Manhattan District Attorney Alvin Bragg said in a statement that the trial “illustrated a cycle of psychological and emotional abuse, and escalating patterns of coercion.”

The dispute between Majors and Jabbari began in the backseat of a chauffeured car and spilled into the streets of Manhattan.

Jabbari, a 30-year-old British dancer, accused Majors of hitting her in the head with his open hand, twisting her arm behind her back and squeezing her middle finger until it fractured.

Majors’ lawyers alleged that she flew into a jealous rage after reading a text message — from another woman — on his phone. They said Jabbari had spread a “fantasy” to take down the actor, who was only trying to regain his phone and get away safely.

But as Majors sought vindication from the jury, the trial also brought forth new evidence about his troubled relationship with Jabbari, whom he met on the set of “Ant-Man and the Wasp: Quantumania” two years ago.

Prosecutors shared text messages that showed the actor begging Jabbari not to seek hospital treatment for an earlier head injury. One message warned “it could lead to an investigation even if you do lie and they suspect something.”

They also played audio of Majors declaring himself a “great man,” then questioning whether Jabbari could meet the high standards set by the spouses of the Rev. Martin Luther King Jr. and Barack Obama. Majors’ attorneys countered that Jabbari had surreptitiously recorded her boyfriend as part of a plot to “destroy” his career.

Over four days of tearful testimony, Jabbari said Majors was excessively controlling and prone to fits of explosive rage that left her afraid “physically quite a lot.” She broke down on the witness stand as a jury watched security footage of him pushing her back into the car after the backseat confrontation. Prosecutors described the video as showing Majors “manhandling” her and shoving her into the vehicle “as if she was a doll.”

Majors arrived in the courtroom each morning carrying a gold-leaf Bible, accompanied by family members and his current girlfriend, actress Meagan Good. Expressionless for much of the testimony, he wiped away tears as Chaudhry urged jurors during her closing arguments on Thursday to “end this nightmare for Jonathan Majors.”

Majors did not take the stand. But Chaudhry said her client was the victim of “white lies, big lies, and pretty little lies” invented by Jabbari to exact revenge on an unfaithful partner.

The attorney cited security footage, taken immediately after the shove, that showed Majors sprinting away from his girlfriend as she chased him through the night. Jabbari then followed a group of strangers she’d met on the street to a dance club, where she ordered drinks for the group and did not appear to be favoring her injured hand.

“She was revenge-partying and charging Champagne to the man she was angry with and treating these strangers to fancy Champagne she bought with Jonathan’s credit card,” Chaudhry alleged.

The next morning, after finding Jabbari unconscious in the closet of their Manhattan penthouse, Majors called police. He was arrested at the scene, while Jabbari was transported to a hospital to receive treatment for the injuries to her ear and hand.

“He called 911 out of concern for her, and his fear of what happens when a Black man in America came true,” Chaudhry said, accusing police and prosecutors of failing to take seriously Majors’ allegations that he was bloodied and scratched during the dispute.

In her closing arguments, prosecutor Kelli Galaway said Majors was following a well-worn playbook used by abusers to cast their victims as attackers.

“This is not a revenge plot to ruin the defendant’s life or his career,” Galaway said. “You were asked why you are here? Because domestic violence is serious.”

 
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Nominated for a Golden Globe and Spain’s entry for an Academy Award, the film “Society of the Snow” revives the story of the 1972 flight disaster in the Andes Mountains. Veronica Villafane spoke with its director, Juan Antonio Bayona, and one of the survivors of the fatal plane crash that captivated the world.
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Rome — Pope Francis has formally approved allowing priests to bless same-sex couples, with a new document explaining a radical change in Vatican policy by insisting that people seeking God’s love and mercy shouldn’t be subject to “an exhaustive moral analysis” to receive it.

The document from the Vatican’s doctrine office, released Monday, elaborates on a letter Francis sent to two conservative cardinals that was published in October. In that preliminary response, Francis suggested such blessings could be offered under some circumstances if they didn’t confuse the ritual with the sacrament of marriage.

The new document repeats that rationale and elaborates on it, reaffirming that marriage is a lifelong sacrament between a man and a woman. And it stresses that blessings should not be conferred at the same time as a civil union, using set rituals or even with the clothing and gestures that belong in a wedding.

But it says requests for such blessings should not be denied full stop. It offers an extensive definition of the term “blessing” in Scripture to insist that people seeking a transcendent relationship with God and looking for his love and mercy should not be subject to “an exhaustive moral analysis” as a precondition for receiving it.

“Ultimately, a blessing offers people a means to increase their trust in God,” the document said. “The request for a blessing, thus, expresses and nurtures openness to the transcendence, mercy, and closeness to God in a thousand concrete circumstances of life, which is no small thing in the world in which we live.”

He added: “It is a seed of the Holy Spirit that must be nurtured, not hindered.”

The Vatican holds that marriage is an indissoluble union between man and woman. As a result, it has long opposed same-sex marriage.

And in 2021, the Vatican’s Congregation for the Doctrine of the Faith said flat-out that the church couldn’t bless the unions of two men or two women because “God cannot bless sin.”

That document created an outcry, one it appeared even Francis was blindsided by even though he had technically approved its publication. Soon after it was published, he removed the official responsible for it and set about laying the groundwork for a reversal.

In the new document, the Vatican said the church must shy away from “doctrinal or disciplinary schemes, especially when they lead to a narcissistic and authoritarian elitism whereby instead of evangelizing, one analyzes and classifies others, and instead of opening the door to grace, one exhausts his or her energies in inspecting and verifying.”

It stressed that people in “irregular” unions — gay or straight — are in a state of sin. But it said that shouldn’t deprive them of God’s love or mercy.

“Thus, when people ask for a blessing, an exhaustive moral analysis should not be placed as a precondition for conferring it,” the document said.
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New York — “Wonka” debuted with $39 million in box office sales in U.S. and Canadian theaters over the weekend, according to studio estimates Sunday. That made it a strong start for the Timothée Chalamet -starring Willy Wonka musical that underscored the young star’s draw.

Musicals have been tough sells in theaters in recent years, so much so that Warner Bros. downplayed the song and dance elements of “Wonka” in trailers. Instead, the studio emphasized Chalamet, the 27-year-old actor who, with “Wonka,” notched his second No. 1 movie following 2021’s “Dune.” The earlier film recorded a $41 million opening.

While “Dune” was a sprawling and star-studded sci-fi adventure, “Wonka” relies chiefly on Chalamet’s charisma.

“Wonka,” which cost about $125 million to produce and played at 4,203 locations, was also the first big Hollywood release to launch following the end of the SAG-AFTRA actors’ strike. Chalamet hosted “Saturday Night Live” just days after the strike ended. In his opening monologue, he sang to the tune of “Pure Imagination” about “returning to this magical world where actors can promote their projects.”

“It shows you the power of a star, and it also shows you the power of a star going out and working a movie,” said Jeffrey Goldstein, distribution chief for Warner Bros. “Having him out there after the strikes were over was a win for him and a win for the movie.”

Goldstein expects “Wonka” to be the go-to choice from families over the holidays. Its main competition for kids will be Universal Pictures’ animated “Migration.”

“Wonka,” directed by Paul King of “Paddington” and “Paddington 2,” is a prequel to 1971’s “Willy Wonka and the Chocolate Factory,” with Chalamet starring as a young Wonka trying to open a candy store. Its ensemble cast includes Hugh Grant, Olivia Colman and Keegan-Michael Key.

Warner Bros. last revived Roald Dahl’s classic with the 2005 Tim Burton-directed “Charlie and the Chocolate Factory,” starring Johnny Depp. It debuted with $56.2 million and ultimately grossed $475 million worldwide.

To reach those numbers, “Wonka” will need strong legs through the lucrative holiday moviegoing period. On its side are mostly good reviews (84% “fresh” on Rotten Tomatoes) and positive audience reaction (an “A-” CinemaScore).

Chalamet is also drawing younger ticket-buyers. Moviegoers under the age of 25 accounted for 36% of the audience, which was split evenly between 51% females and 49% males. “Wonka” added $53.6 million in overseas ticket sales.

“Chalamet is a true movie star who’s been developing his craft and his reputation over many years,” says Paul Dergarabedian, senior media analyst for Comscore. “Everybody’s looking for who’s the next big movie star. Is it all about the old-school leading men? Chalamet is definitely that.”

For Warner Bros., it’s the first in a trio of high-profile holiday releases, to be followed by “Aquaman and the Lost Kingdom” on Dec. 22 and another musical, “The Color Purple” on Dec. 25.

The only other new wide release in theaters was “Christmas With the Chosen: Holy Night,” from Christian-theme distributor Angel Studios. It debuted with $2.9 million in sales through 2,094 theaters.

“The Hunger Games: The Ballad of Songbirds and Snakes” again ranked second this week with $5.8 million in its fifth week of release. The Lionsgate “Hunger Games” prequel, now up to $145.2 million domestically and more than $300 million globally, has held strong week after week.

Last week’s top film, Hayao Miyazaki’s “The Boy and the Heron,” dipped to third with $5.1 million in its second week of release. The latest film from the 82-year-old Japanese anime master has already set records for Miyazaki, Studio Ghibli and its North American distributor GKids.

With holdovers making up most of the top 10 movies in theaters, the weekend’s other most notable business was a group of award contenders trying to make their mark following Monday’s Golden Globes nominations.

Yorgos Lanthimos’ “Poor Things,” a surreal Frankenstein-esque fairy tale starring Emma Stone, expanded into 82 theaters and grossed $1.3 million for Searchlight Pictures. The film, which will expand further in the coming weeks, is nominated for seven Golden Globes, including best comedy or musical.

Cord Jefferson’s “American Fiction,” starring Jeffrey Wright as a sardonic novelist, debuted in seven theaters in three cities with a $32,411 per-screen average. MGM’s “American Fiction,” nominated for two Globes, will expand to 40 theaters next week. It won the audience award at the Toronto International Film Festival in September.

Jonathan Glazer’s “The Zone of Interest,” a chilling Holocaust drama about a Nazi commandant and his family living next to Auschwitz, opened in four theaters with a $31,198 per-screen average. Nominated for three Globes, it will play in limited release before expanding in January.

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

"Wonka," $39 million.
"The Hunger Games: The Ballad of Songbirds and Snakes," $5.8 million.
"The Boy and the Heron," $5.2 million.
"Godzilla Minus One," $4.9 million.
"Trolls Band Together," $4 million.
"Wish," $3.2 million.
"Christmas With the Chosen: Holy Night," $2.9 million.
"Napoleon," $2.2 million.
"Renaissance: A Film by Beyoncé," $2 million.
"Poor Things," $1.3 million.

 
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Paris — Notre Dame Cathedral got its rooster back Saturday, in a pivotal moment for the Paris landmark’s restoration.

The installation by a crane of a new golden rooster, reimagined as a dramatic phoenix with licking, flamed feathers, goes beyond being just a weathervane atop the cathedral spire. It symbolizes resilience amid destruction after the devastating April 2019 fire — as restoration officials also revealed an anti-fire misting system is being kitted out under the cathedral’s roof.

Chief architect Philippe Villeneuve, who designed this new rooster, stated that the original rooster’s survival signified a ray of light in the catastrophe.

“That there was hope, that not everything was lost. The beauty of the [old] battered rooster … expressed the cry of the cathedral suffering in flames,” Villeneuve said. He described the new work of art, approximately half a meter long and gleaming in the December sun behind Notre Dame Cathedral, as his “phoenix.”

Villeneuve elaborated on the new rooster’s significance, saying: “Since [the fire] we have worked on this rooster [the] successor, which sees the flame carried to the top of the cathedral as it was before, more than 96 meters from the ground. … It is a fire of resurrection.”

In lighthearted comments, the architect said that the process of design was so intense he might have to speak to his “therapist” about it.

Before ascending to its perch, the rooster — a French emblem of vigilance and Christ’s resurrection — was blessed by Paris Archbishop Laurent Ulrich in a square behind the monument. The rooster — or “coq” in French — is an emotive national emblem for the French because of the word’s semantics — the Latin gallus meaning Gaul and gallus simultaneously meaning rooster.

Ulrich placed sacred relics in a hole inside the rooster’s breast, including fragments of Christ’s Crown of Thorns and remains of St. Denis and St. Genevieve, infusing the sculpture with religious importance.

The Crown of Thorns, regarded as Notre Dame’s most sacred relic, was among the treasures quickly removed after the fire broke out. Brought to Paris by King Louis IX in the 13th century, it is purported to have been pressed onto Christ’s head during the crucifixion. A sealed tube was also placed in the sculpture containing a list the names of nearly 2,000 individuals who contributed to the cathedral’s reconstruction, underscoring the collective effort behind the works.

Amid the rooster benediction ceremony, Notre Dame’s new restoration chief, Philippe Jost, also detailed pioneering measures taken to safeguard the iconic cathedral against future fires — in rare comments to the press.

“We have deployed a range of fire protection devices, some of which are very innovative in a cathedral, including a misting system in the attics, where the oak frame and in the spire are located,” Jost said. “And this is a first for a cathedral in France.”

French President Emmanuel Macron, who last week visited the site to mark a one-year countdown to its re-opening, announced that the original rooster will be displayed in a new museum at the Hôtel-Dieu. This move, along with plans to invite Pope Francis for the cathedral’s reopening next year, highlights Notre Dame’s significance in French history and culture.

The rooster’s installation, crowning a spire reconstructed from Eugène Viollet-le-Duc’s 19th-century design, is a poignant reminder of its medieval origins as a symbol of hope and faith.

Its longstanding association with the French nation since the Renaissance further adds to its historical and cultural significance, marking a new chapter of renewal and hope for Notre Dame and the French people.
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MEXICO CITY — Mexico’s Maya Train rail project opened partially to the general public Saturday, amid hours-long delays and huge cost overruns.

Passengers waiting for the twice-daily train to leave the resort of Cancun were left waiting on the platform for about five hours before being able to board. Officials apologized for the delayed and said it was due to trains being “reconfigured.”

Some passengers napped on the floor of the concrete platform. Some — many self-declared supporters of President Andrés Manuel López Obrador — cheered when the train finally appeared in Cancun.

The train running in the other direction from the Gulf coast colonial city of Campeche was also delayed for hours, because only one side of the planned double rail line is finished. Officials estimated it would take about 5 1/2 hours to travel the 473 kilometers from Campeche to Cancun.

Meanwhile, the cost of the project has soared from original estimates of around $8.5 billion, to as much as $28 billion.

The 1,528-kilometer line, called the Maya Train, is meant to connect beach resorts and archaeological sites. However, only about one-third of it — the 473-kilometer stretch that President Andrés Manuel López Obrador inaugurated with dignitaries and the press Friday — has even been partly finished.

Officials pledged the rest of the line would be ready by the end of February. But even on the part López Obrador inaugurated Friday, just a single line of a planned double-line track has been finished, meaning one train has to wait on a siding while another passes.

The stretch running between Campeche and Cancun is about one-third of the entire project and covers the least controversial portion of the route, which crosses many environmentally sensitive areas.

A first-class ticket on one of the two trains from Cancun to Merida, the most popular stop, will cost the equivalent of $68. A first-class bus covers the route in about the same time and costs about $58, with buses leaving about every half hour from the city centers, rather than remote train stations on the outskirts.

That led to questions about whether the train will ever cover its operating costs, much less its construction budget.

Mexico’s army, which operates the train and built part of the railway, did not respond to a request for comment about the delays or cost overruns.

In comments Friday, López Obrador acknowledged, “Yes, things are lacking (on the train), of course,” and predicted it would take “three years, four years” for the train system to begin covering its operating costs under the best scenario.

Asked how much the construction cost of the project would be, the president said: “I don’t know … I don’t have the exact figure.”

Originally projected to cost $8.6 billion, by now $22.7 billion has been assigned to the project, and Treasury Secretary Rogelio Ramírez told local media the final cost would be around $28 billion.

Unlike the remaining two-thirds of the Maya Train, the part of the line inaugurated Friday already had an old train line running over much of the route. Many of the still-unfinished parts were cut through the jungle and built over sensitive, relic-filled cave systems, drawing objections from environmentalists.

López Obrador has raced to finish the Maya Train project before he leaves office in September, rolling over the objections of ecologists, cave divers and archaeologists.

The train runs along the Caribbean coast and threatens extensive caves where some of the oldest human remains in North America have been discovered. Because of the region’s limestone geology, it is riddled with caves that carry most of its water.

While officials have touted the train as utilitarian transport for freight and local residents, its only real source of significant income would be tourists. However, given its frequent stops, unwieldy route and lack of feasibility studies, it is unclear how many tourists will actually want to buy tickets.

“The train won’t help residents get to work or school, and besides, it’s very expensive,” SELVAME, a coalition of groups opposing the project, said in a statement Friday. “The train runs through the jungle, filling cenotes (sinkhole lakes) and underground rivers with concrete, without any studies.”

López Obrador has tried to rush through the project by exempting it from normal permitting, public reporting and environmental impact statements, claiming it is vital to national security.

In November 2021, his administration issued a broad decree requiring all federal agencies to give automatic approval for any public works project the government deems to be “in the national interest” or to “involve national security.”
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PHNOM PENH, CAMBODIA — Cambodia has welcomed the announcement that New York’s Metropolitan Museum of Art will return more than a dozen pieces of ancient artwork to Cambodia and Thailand that were tied to an art dealer and collector accused of running a huge antiquity trafficking network out of Southeast Asia.

This most recent repatriation of artwork comes as many museums in the United States and Europe reckon with collections that contain objects looted from Asia, Africa and other places during centuries of colonialism or in times of upheaval.

Fourteen Khmer sculptures will be returned to Cambodia and two will be returned to Thailand, the Manhattan museum announced Friday, although no specific timeline was given.

“We appreciate this first step in the right direction,” said a statement issued by Cambodia’s Ministry of Culture and Fine Arts. “We look forward to further returns and acknowledgements of the truth regarding our lost national treasures, taken from Cambodia in the time of war and genocide.”

Cambodia suffered from war and the brutal rule of the communist Khmer Rouge in the 1970s and 1980s, causing disorder that opened the opportunity for its archaeological treasures to be looted.

The repatriation of the ancient pieces was linked to well-known art dealer Douglas Latchford, who was indicted in 2019 for allegedly orchestrating a multiyear scheme to sell looted Cambodian antiquities on the international art market. Latchford, who died the following year, had denied any involvement in smuggling.

The museum initially cooperated with the U.S. attorney’s office in Manhattan and the New York office of Homeland Security Investigations on the return of 13 sculptures tied to Latchford before determining there were three more that should be repatriated.

“As demonstrated with today’s announcement, pieces linked to the investigation of Douglas Latchford continue to reveal themselves,” HSI Acting Special Agent in Charge Erin Keegan said in a statement Friday. “The Metropolitan Museum of Art has not only recognized the significance of these 13 Khmer artifacts, which were shamelessly stolen, but has also volunteered to return them, as part of their ongoing cooperation, to their rightful owners: the People of Cambodia.”

This isn’t the first time the museum has repatriated art linked to Latchford. In 2013, it returned two objects to Cambodia.

The Latchford family also had a load of centuries-old Cambodian jewelry in their possession that they later returned to Cambodia. In February, 77 pieces of jewelry made of gold and other precious metal pieces — including items such as crowns, necklaces and earrings — were returned. Other stone and bronze artifacts were returned in September 2021.

Pieces being returned include a bronze sculpture called the “Bodhisattva Avalokiteshvara Seated in Royal Ease,” made sometime between the late 10th century and early 11th century. Another piece of art, made of stone in the seventh century and named “Head of Buddha,” will also be returned. Those pieces are part of 10 that can still be viewed in the museum’s galleries while arrangements are made for their return.

“These returns contribute to the reconciliation and healing of the Cambodian people who went through decades of civil war and suffered tremendously from the tragedy of the Khmer Rouge genocide, and to a greater strengthening of our relationship with the United States,” Cambodia’s Minister of Culture and Fine Arts, Phoeurng Sackona, said in her agency’s statement.

Research efforts were already underway by the museum to examine the ownership history of its objects, focusing on how ancient art and cultural property changed hands, as well as the provenance of Nazi-looted artwork.
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PHOENIX, ARIZONA — Once the initial shock wore off on the price tag of Shohei Ohtani’s record-shattering $700 million, 10-year deal with the Los Angeles Dodgers, details about the contract emerged that were nearly as stunning.

A total of $680 million — 97% of the money — was deferred until 2034-43 with no interest.

Had the Dodgers invented some kind of contract voodoo new to Major League Baseball?

Not really. But it appears to be a team-friendly deal that also has benefits for Ohtani as the Japanese superstar departs the Angels, heads 30 miles up Interstate 5 and establishes a new home with the Dodgers in Chavez Ravine.

“Thanks to his endorsements and other off-the-field revenue streams, he has the luxury to defer compensation,” said Michael Rueda, head of the U.S. division of sports and entertainment at Withers law firm. “But there’s always some risk.”

Part of Rueda’s job is giving financial advice to high-profile sports stars and celebrities. He said the Ohtani-Dodgers deal looks like a solid arrangement, even if there are tradeoffs for both sides.

Make no mistake, the 29-year-old Ohtani is a rich man and will be rich long into the foreseeable future, but money promised later is never the same as money in hand.

One example of Ohtani’s risk: Former Pittsburgh Penguins superstar Mario Lemieux was out about $26 million in the 1990s when the franchise was in financial trouble and couldn’t pay the money it owed the hockey legend in a deferred deal.

Things eventually worked out. Lemieux converted his deferred salary into equity with the team, then partnered with Ron Burkle to pull the club out of bankruptcy. They eventually made a windfall after selling part of their stake in 2021 — but it’s a reminder that financial circumstances can change when 20 years pass. The Dodgers were certainly a fan-drawing juggernaut in 2023, but 2043 doesn’t come for a long time. L.A., after all, is only 12 years removed from filing for bankruptcy protection under former owner Frank McCourt.

There’s also at least some risk for the franchise: The New York Mets famously deferred $5.9 million that slugger Bobby Bonilla was owed in 2000 and — thanks to an 8% interest rate — will end up paying nearly $30 million total in annual installments until 2035.

In contrast, Ohtani’s deferred pay comes with no interest. That’s a potentially monstrous savings — maybe billions — on a deal that could have been much more costly. Ohtani’s deal with 8% interest would come out to nearly $3 billion by 2043.

“It’s interesting to me that the deferred money comes with no interest, from what I’ve read” Rueda said. “That’s giving up a lot of money.”

Ohtani’s other potential advantage from the contract is he receives $680 million of the $700 million after he’s done playing, which means he might not be living in California, where taxes are relatively high. Depending on where he lives from 2034-43, that could lead to sizable savings.

Rueda said there are many variables, particularly if he goes back to Japan.

“Tax is always a big part,” Rueda said. “The concept of moving to a different jurisdiction and avoiding the California state tax — yeah, that could be accurate.”
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Images of African senior citizens walking the runway created a buzz on social media, eventually going viral. These AI-generated pictures challenged the typical depictions of elderly Africans, showcasing them in an empowering way. Karina Choudhury has the story. Camera: Samuel Okocha.
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London — In 1979, British painter Martin Lever was only 9 years old when he moved to Hong Kong because his father was employed as a surveyor in the Hong Kong Housing Department. He tells VOA’s Cantonese service that growing up in the multicultural city gave him a very different upbringing, one he is grateful for to this day.

Lever returned to England to attend university and worked there for several years. But he returned to Hong Kong, where he pursued a career in the advertising industry. By the time he left in May 2022, he had spent a total of 36 years living in the Asian city.

Lever, who also goes by the Chinese name Li Wah, was not always an artist. He worked as a copywriter in international advertising companies in the 1990s, and later rose to the position of creative director. It was during his final years in advertising that he slowly became a full-time artist. Hong Kong has long been his muse, and his paintings of mostly urban street scenes, grassroots workers and elements of life capture Hong Kong’s characteristics in an abstract style.

Many Hong Kong people do not realize that most of their lives occur high in the sky, he said.

“They live on the 10th floor, work on the 20th floor and eat on the 30th floor,” said Lever. Hong Kong, when seen from a high altitude from the ground, is very different. Works derived from this concept have been popular, he said.

It wasn’t until more recently that he started to turn his attention to politics and the political turmoil of Hong Kong. Using his earlier perspectives, he created a series of works titled “Above the Protests,” scenes of Hong Kong’s mass demonstrations from above.

In 2021, he exhibited the work at the Affordable Art Fair in Hong Kong. Before it began, he received a notice hinting that exhibits should avoid controversy. He had no choice but to rename the work “Above the Streets,” but that experience made him start to question just how much room there was for freedom of expression as an artist in Hong Kong.

Lever said he fully supported the peaceful demonstrations of the 2014 Umbrella Movement in Hong Kong. During the 2019 mass protests, while he was shocked by the violence on the streets, he believed that the root of the problem was then-Chief Executive Carrie Lam’s unwillingness to talk to the demonstrators. Lam regarded the incident as a matter of law and order.

Life in Hong Kong turned harder for him during the COVID-19 pandemic, as he was unable to visit his family in Britain. On his return to Hong Kong, he endured what he describes as a painful hotel quarantine, one of the reasons that made him decide to leave Hong Kong. After the National Security Law came into effect, his doubts about the future of Hong Kong grew stronger.

Lever said a lot of people wondered if the National Security Law was good or bad, also wondering if it was just a way to stop the violence until there could be a dialogue. But then he saw the targeting of those who had been critical of Beijing – pro-democracy media tycoon Jimmy Lai, Catholic priests – and the closing down of the Apple Daily newspaper.

“And it was, like, ‘Why are they doing this? This is so unnecessary,’’’ Lever said. “I guess that’s the game China plays. That started to impact me; it made me angry, that this should not be happening in Hong Kong.”

He said some of his Western friends who still live in Hong Kong remained neutral about law-abiding people being jailed, songs and books being banned and media outlets being shut down. They could still go through life as usual, he said.

“But having grown up in Hong Kong and having benefited from having so many freedoms and opportunities that came for me because of that, having employed so many young Chinese guys and girls over the years in advertising, and to see that they are slowly now being denied some of the freedoms that we take for granted, it makes me very sad and very angry,” he said. “Upon leaving Hong Kong, I felt I had to express this through my art.”

In his new collection “Silent Protest,” the mouths of Hong Kong people standing in front of libraries, subways, banks and courts have become closed zippers or covered by Chinese national flag face masks, a metaphor for the ubiquity of deathly silence under Hong Kong’s National Security Law.

Lever’s paintings are filled with quotes from former Chinese leader Mao Zedong. He said this is because many of Mao’s sayings are the same as what young Hong Kong residents were demanding.

“Mao said things like anyone can criticize the Communist Party; he said we work for the people; he said New China must look after her youth,” he said. “The layers of irony in putting these two things together, I felt, was very powerful.”

Like Lever, many Hong Kong residents have now moved to the U.K., part of wave of mass emigration. Though he now lives in a small town in northeastern England, he is happy that he can always see some Hong Kong people living close to him. He said they seem to be satisfied with their new lives despite the challenges of being uprooted from their home.

Lever said he hopes that his new paintings will show the changes in Hong Kong to the outside world. He adds that he is not against the Hong Kong or Chinese governments, but just stating the facts.

“I know that there is a risk that maybe if this creates enough noise, maybe I would be blackballed too, which would be heartbreaking,” he said. “But if I was to be blackballed from Hong Kong for painting some paintings, then that would kind of underline the whole point of me doing this, because that’s a tragic situation.”

Lever’s artwork will be exhibited at The Crypt Gallery in London between December 15 and 17.
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