Cambodian Facial Recognition Effort Raises Fears of Misuse

Experts are raising concerns that a recent Cambodian government order allocating around $1 million to a local company for a facial recognition technology project could pave the way for the technology to be used against citizens and human rights defenders.

The order, signed by Prime Minister Hun Sen and released in March in a recent tranche of government documents, would award the funds to HSC Co. Ltd., a Cambodian company led by tycoon Sok Hong that has previously printed Cambodian passports and installed CCTV cameras in Phnom Penh, Cambodia’s capital.

The Oct. 17 order appears to be the first direct indication of Cambodia’s interest in pursuing facial recognition, alarming experts who say such initiatives could eventually be used to target dissenters and build a stronger surveillance state similar to China’s. In recent months, the government has blocked the country’s main opposition party from participating in the July national elections, shut down independent media and jailed critics such as labor organizers and opposition politicians.

Neither the Interior Ministry nor the company would answer questions about what the project entails.

“This is national security and not everyone knows about how it works,” Khieu Sopheak, secretary of state and spokesperson for the Interior Ministry, told VOA by phone. “Even in the U.S., if you ask about the air defense system, they will tell you the same. This is the national security system, which we can’t tell everyone [about].”

The order names HSC, a company Sok Hong founded in 2007, as the funds’ recipient. HSC’s businesses span food and beverage, dredging and retail.

HSC also has close ties to the government: in addition to printing passports and providing CCTV cameras in Phnom Penh, it runs the system for national ID cards and has provided border checkpoint technology. Malaysian and Cambodian media identify Sok Hong as the son of Sok Kong, another tycoon who founded the conglomerate Sokimex Investment Group. Both father and son are oknhas or “lords,” a Cambodian honorific given to those who have donated more than $500,000 to the government.

When reached by phone, Sok Hong told VOA, “I think it shouldn’t be reported since it is related to national security.”

Cambodia’s history of repression, including monitoring dissidents in person and online, has raised suspicions that it could deploy such technology to target activists. Last year, labor leaders reported they were recorded via drones during protests.

“Authorities can use facial recognition technology to identify, track individuals and gather vast amounts of personal data without their consent, which could eventually lead to massive surveillance,” said Chak Sopheap, director of the Cambodian Center for Human Rights. “For instance, when a government uses facial recognition to monitor attendance at peaceful gatherings, these actions raise severe concerns about the safety of those citizens.”

In addition, giving control of facial recognition technology to a politically connected firm, and one that already has access to a trove of identity-related information, could centralize citizens’ data in a one-stop shop. That could make it easier to fine-tune algorithms quickly and later develop more facial recognition tools to be shared with the government in a mutually beneficial relationship, Joshua Kurlantzick, Council on Foreign Relations senior fellow for Southeast Asia, told VOA.

China — one of Cambodia’s oldest and closest allies — has pioneered collecting vast amounts of data to monitor citizens. In Xinjiang, home to about 12 million Uyghurs, Chinese authorities combine people’s biometric data and digital activities to create a detailed portrait of their lives.

In recent years, China has sought to influence Southeast Asia, “providing an explicit model for surveillance and a model for a closed and walled-garden internet,” Kurlantzick said, referring to methods of blocking or managing users’ access to certain content.

Some efforts have been formalized under the Digital Silk Road, China’s technology-focused subset of the Belt and Road initiative that provides support, infrastructure and subsidized products to recipient countries.

China’s investment in Cambodian monitoring systems dates back to the early days of the Digital Silk Road. In 2015, it installed an estimated $3 million worth of CCTV cameras in Phnom Penh and later promised more cameras to “allow a database to accumulate for the investigation of criminal cases,” according to reports at the time. There is no indication China is involved in the HSC project, however.

While dozens of countries use facial recognition technology for legitimate public safety uses, such investments must be accompanied by strict data protection laws and enforcement, said Gatra Priyandita, a cyber politics analyst at the Australian Strategic Policy Institute.

Cambodia does not have comprehensive data privacy regulations. The prime minister himself has monitored Zoom calls hosted by political foes, posting on Facebook that “Hun Sen’s people are everywhere.”

Given the country’s approach to digital privacy, housing facial recognition within a government-tied conglomerate is “concerning” but not surprising, Priyandita said.

“The long-term goal of these kinds of arrangements is the reinforcement of regime security, of course, particularly the protection of Cambodia’s main political and business families,” Priyandita said.

In the immediate future, Cambodia’s capacity to carry out mass surveillance is uncertain. The National Internet Gateway — a system for routing traffic through government servers which critics compared to China’s “Great Firewall” — was delayed in early 2022. Shortly before the scheduled rollout, the government advertised more than 100 positions related to data centers and artificial intelligence, sowing doubts about the technical knowledge behind the project.

Still, the government is pushing to strengthen its digital capabilities, fast-tracking controversial laws around cybercrime and cybersecurity and pursuing a 15-year plan to develop the digital economy, including a skilled technical workforce.

Sun Narin of VOA’s Khmer Service contributed to this report.

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As Deepfake Fraud Permeates China, Authorities Target Political Challenges Posed by AI

Chinese authorities are cracking down on political and fraud cases driven by deepfakes, created with face- and voice-changing software that tricks targets into believing they are video chatting with a loved one or another trusted person.

How good are the deepfakes? Good enough to trick an executive at a Fuzhou tech company in Fujian province who almost lost $600,000 to a person he thought was a friend claiming to need a quick cash infusion.

The entire transaction took less than 10 minutes from the first contact via the phone app WeChat to police stopping the online bank transfer when the target called the authorities after learning his real friend had never requested the loan, according to Sina Technology.

Despite the public’s outcry about such AI-driven fraud, some experts say Beijing appears more concerned about the political challenges that deepfakes may pose, as shown by newly implemented regulations on “deep synthesis” management that outlaw activities that “endanger national security and interests and damage the national image.”

The rapid development of artificial intelligence technology has propelled cutting-edge technology to mass entertainment applications in just a few years.

In a 2017 demonstration of the risks, a video created by University of Washington researchers showed then-U.S. President Barack Obama saying things he hadn’t.

Two years later, Chinese smartphone apps like Zao let users swap their faces with celebrities so they could appear as if they were in a movie. Zao was removed from app stores in 2019 and Avatarify, another popular Chinese face-swapping app, was also banned in 2021, likely for violation of privacy and portrait rights, according to Chinese media.

Pavel Goldman-Kalaydin, head of artificial intelligence and machine learning at SumSub, a Berlin-based global antifraud company, explained how easy it is with a personal computer or smartphone to make a video in which a person appears to say things he or she never would.

“To create a deepfake, a fraudster uses a real person’s document, taking a photo of it and turning it into a 3D persona,” he said. “The problem is that the technology, it is becoming more and more democratized. Many people can use it. … They can create many deepfakes, and they try to bypass these checks that we try to enforce.”

Subbarao Kambhampati, professor at the School of Computing and Augmented Intelligence at Arizona State University, said in a telephone interview he was surprised by the apparent shift from voice cloning to deepfake video calling by scammers in China. He compared that to a rise in voice-cloning phone scams in the U.S.

“Audio alone, you’re more easily fooled, but audio plus video, it would be little harder to fool you. But apparently they’re able to do it,” Kambhampati said, adding that it is harder to make a video that appears trustworthy.

“Subconsciously we look at people’s faces … and realize that they’re not exactly behaving the way we normally see them behave in terms of their facial expressions.”

Experts say that AI fraud will become more sophisticated.

“We don’t expect the problem to go away. The biggest solution … is education, let people understand the days of trusting your ears and eyes are over, and you need to keep that in the back of your mind,” Kambhampati said.

The Internet Society of China issued a warning in May, calling on the public to be more vigilant as AI face-changing, voice-changing scams and slanders became common.

The Wall Street Journal reported on June 4 that local governments across China have begun to crack down on false information generated by artificial intelligence chatbots. Much of the false content designed as clickbait is similar to authentic material on topics that have already attracted public attention.

To regulate “deep synthesis” content, China’s administrative measures implemented on January 10 require service providers to “conspicuously mark” AI-generated content that “may cause public confusion or misidentification” so that users can tell authentic media content from deepfakes.

China’s practice of requiring technology platforms to “watermark” deepfake content has been widely discussed internationally.

Matt Sheehan, a fellow in the Asia Program at the Carnegie Endowment for International Peace, noted that deepfake regulations place the onus on the companies that develop and operate these technologies.

“If enforced well, the regulations could make it harder for criminals to get their hands on these AI tools,” he said in an email to VOA Mandarin. “It could throw up some hurdles to this kind of fraud.”

But he also said that much depends on how Beijing implements the regulations and whether bad actors can obtain AI tools outside China.

“So, it’s not a problem with the technology,” said SumSub’s Goldman-Kalaydin. “It is always a problem with the usage of the technology. So, you can regulate the usage, but not the technology.”

James Lewis, senior vice president of the strategic technologies program at the Center for Strategic and International Studies in Washington, told VOA Mandarin, “Chinese law needs to be modernized for changes in technology, and I know the Chinese are thinking about that. So, the cybercrime laws you have will probably catch things like deepfakes. What will be hard to handle is the volume and the sophistication of the new products, but I know the Chinese government is very worried about fraud and looking for ways to get control of it.”

Others suggest that in regulating AI, political stability is a bigger concern for the Chinese government.

“I think they have a stronger incentive to work on the political threats than they do for fraud,” said Bill Drexel, an associate fellow for the Technology and National Security Program at Center for a New American Security.

In May, the hashtag #AIFraudEruptingAcrossChina was trending on China’s social media platform Weibo. However, the hashtag has since been censored, according to the Wall Street Journal, suggesting authorities are discouraging discussion on AI-driven fraud.

“So even we can see from this incident, once it appeared that the Chinese public was afraid that there was too much AI-powered fraud, they censored,” Drexel told VOA Mandarin.

He continued, “The fact that official state-run media initially reported these incidents and then later discussion of it was censored just goes to show that they do ultimately care about covering themselves politically more than they care about addressing fraud.”

Adrianna Zhang contributed to this report.

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Bill Gates in China to Meet President Xi on Friday – Sources 

Bill Gates, Microsoft Corp’s co-founder, is set to meet Chinese President Xi Jinping on Friday during his visit to China, two people with knowledge of the matter said.

The meeting will mark Xi’s first meeting with a foreign private entrepreneur in recent years. The people said the encounter may be a one-on-one meeting. A third source confirmed they would meet, without providing details.

The sources did not say what the two might discuss. Gates tweeted on Wednesday that he had landed in Beijing for the first time since 2019 and that he would meet with partners who had been working on global health and development challenges with the Bill & Melinda Gates Foundation.

The foundation and China’s State Council Information Office, which handles media queries on behalf of the Chinese government, did not immediately respond to Reuters requests for comment. 

Gates stepped down from Microsoft’s board in 2020 to focus on philanthropic works related to global health, education and climate change. He quit his full-time executive role at Microsoft in 2008. 

The last reported meeting between Xi and Gates was in 2015, when they met on the sidelines of the Boao forum in Hainan province. In early 2020, Xi wrote a letter to Gates thanking him, and the Bill & Melinda Gates Foundation, for pledging assistance to China including $5 million for its fight against COVID. 

The meeting would mark the end of a long hiatus by Xi in recent years from meeting foreign private entrepreneurs and business leaders, after the Chinese president stopped traveling abroad for nearly three years as China shut its borders during the pandemic. 

Several foreign CEOs have visited China since it reopened early this year but most have mainly met with government ministers. 

Premier Li Qiang met a group of CEOs including Apple’s Tim Cook in March and a source told Reuters that Tesla’s Elon Musk met vice-premier Ding Xuexiang last month.

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EU Lawmakers Vote for Tougher AI Rules as Draft Moves to Final Stage

EU lawmakers on Wednesday voted for tougher landmark draft artificial intelligence rules that include a ban on the use of the technology in biometric surveillance and for generative AI systems like ChatGPT to disclose AI-generated content.

The lawmakers agreed to the amendments to the draft legislation proposed by the European Commission which is seeking to set a global standard for the technology used in everything from automated factories to bots and self-driving cars.

Rapid adoption of Microsoft-backed OpenAI’s ChatGPT and other bots has led top AI scientists and company executives including Elon Musk and OpenAI CEO Sam Altman to raise the potential risks posed to society.

“While Big Tech companies are sounding the alarm over their own creations, Europe has gone ahead and proposed a concrete response to the risks AI is starting to pose,” said Brando Benifei, co-rapporteur of the draft act.

Among other changes, European Union lawmakers want any company using generative tools to disclose copyrighted material used to train its systems and for companies working on “high-risk application” to do a fundamental rights impact assessment and evaluate environmental impact.

Microsoft, which has called for AI rules, welcomed the lawmakers’ agreement.

“We believe that AI requires legislative guardrails, alignment efforts at an international level, and meaningful voluntary actions by companies that develop and deploy AI,” a Microsoft spokesperson said.

However, the Computer and Communications Industry Association said the amendments on high-risk AIs were likely to overburden European AI developers with “excessively prescriptive rules” and slow down innovation.

“AI raises a lot of questions – socially, ethically, economically. But now is not the time to hit any ‘pause button’. On the contrary, it is about acting fast and taking responsibility,” EU industry chief Thierry Breton said.

The Commission announced its draft rules two years ago aimed at setting a global standard for a technology key to almost every industry and business and in a bid to catch up with AI leaders the United States and China.

The lawmakers will now have to thrash out details with European Union countries before the draft rules become legislation. 

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EU Regulators Order Google To Break up Digital Ad Business Over Competition Concerns

European Union antitrust regulators took aim at Google’s lucrative digital advertising business in an unprecedented decision ordering the tech giant to sell off some of its ad business to address competition concerns.

The European Commission, the bloc’s executive branch and top antitrust enforcer, said that its preliminary view after an investigation is that “only the mandatory divestment by Google of part of its services” would satisfy the concerns.

The 27-nation EU has led the global movement to crack down on Big Tech companies, but it has previously relied on issuing blockbuster fines, including three antitrust penalties for Google worth billions of dollars.

It’s the first time the bloc has ordered a tech giant to split up keys of business.

Google can now defend itself by making its case before the commission issues its final decision. The company didn’t immediately respond to a request for comment.

The commission’s decision stems from a formal investigation that it opened in June 2021, looking into whether Google violated the bloc’s competition rules by favoring its own online display advertising technology services at the expense of rival publishers, advertisers and advertising technology services.

YouTube was one focus of the commission’s investigation, which looked into whether Google was using the video sharing site’s dominant position to favor its own ad-buying services by imposing restrictions on rivals.

Google’s ad tech business is also under investigation by Britain’s antitrust watchdog and faces litigation in the U.S.

Brussels has previously hit Google with more than $8.6 billion worth of fines in three separate antitrust cases, involving its Android mobile operating system and shopping and search advertising services.

The company is appealing all three penalties. An EU court last year slightly reduced the Android penalty to 4.125 million euros. EU regulators have the power to impose penalties worth up to 10% of a company’s annual revenue.

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Big Amazon Cloud Services Recovering After Outage Hits Thousands of Users

Amazon.com said cloud services offered by its unit Amazon Web Services were recovering after a big disruption on Tuesday affected websites of the New York Metropolitan Transportation Authority and The Boston Globe, among others.

Several hours after Downdetector.com started showing reports of outages, Amazon said many AWS services were fully recovered and marked resolved.

“We are continuing to work to fully recover all services,” AWS’ status page showed.

Tuesday’s impact stretching from transportation to financial services businesses underscores adoption of Amazon’s younger Lambda service and the degree to which many of its cloud offerings are crucial to companies in the internet age.

According to research in the past year from the cloud company Datadog, more than half of organizations operating in the cloud use Lambda or rival services, known as serverless technology.

Nearly 12,000 users had reported issues with accessing the service, according to Downdetector, which tracks outages by collating status reports from a number of sources, including user-submitted errors on its platform.

The disruption appeared smaller in time and breadth than one the company suffered in 2017 of its data-hosting service known as Amazon S3, representing the bread and butter of its cloud business.

The outage appeared to extend to AWS’s own webpage describing disruptions in its operations, which at one point failed to load on Tuesday, Reuters witnesses saw.

“We quickly narrowed down the root cause to be an issue with a subsystem responsible for capacity management for AWS Lambda, which caused errors directly for customers and indirectly through the use by other AWS services,” Amazon said.

AWS Lambda is a service that lets customers run computer programs without having to manage any underlying servers.

Twitter users expressed their frustration with the outage, with one user saying, “I don’t know, Alexa won’t tell me because #AWS and her services are down!”

Delta Air Lines also said it was facing problems but did not say if it was related to the AWS outage. The company did not immediately respond to a request for comment.

Other Amazon services such as Amazon Music and Alexa were also impacted, according to Downdetector.

Amazon had its last major outage in December 2021, when disruptions to its cloud services temporarily knocked out streaming platforms Netflix and Disney+, Robinhood, and Amazon’s e-commerce website ahead of Christmas.

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Cormac McCarthy, Author of ‘The Road,’ ‘No Country for Old Men,’ Dies at 89

Cormac McCarthy, the Pulitzer Prize-winning novelist who in prose both dense and brittle took readers from the southern Appalachians to the desert Southwest in such novels as The Road, Blood Meridian and All the Pretty Horses, died Tuesday. He was 89.

McCarthy died of natural causes in Santa Fe, New Mexico, publisher Alfred A. Knopf said.

McCarthy, raised in Knoxville, Tennessee, was compared to William Faulkner for his Old Testament style and rural settings. McCarthy’s themes, like Faulkner’s, often were bleak and violent and dramatized how the past overwhelmed the present. Across stark and forbidding landscapes and rundown border communities, he placed drifters, thieves, prostitutes and old, broken men, all unable to escape fates determined for them well before they were born.

McCarthy’s own story was one of belated, and continuing, achievement and popularity.

Little known to the public at age 60, he would become one of the country’s most honored and successful writers despite rarely talking to the press. He broke through commercially in 1992 with All the Pretty Horses and over the next 15 years won the National Book Award and the Pulitzer, was a guest on Oprah Winfrey’s show and saw his novel No Country for Old Men adapted by the Coen brothers into an Oscar-winning movie.

The Road, his stark tale of a father and son who roam a ravaged post-apocalyptic landscape, brought him his widest audience and highest acclaim. It won the 2007 Pulitzer Prize for fiction and was selected by Winfrey for her book club. In his Winfrey interview, McCarthy said that while typically he didn’t know what generates the ideas for his books, he could trace The Road to a trip he took with his young son to El Paso, Texas, early in the decade. Standing out of the window of a hotel in the middle of the night as his son slept nearby, he started to imagine what El Paso might look like 50 or 100 years in the future.

“I just had this image of these fires up on the hill … and I thought a lot about my little boy,” he said.

He told Winfrey he didn’t care how many people read The Road.

“You would like for the people that would appreciate the book to read it. But, as far as many, many people reading it, so what?” he said.

McCarthy dedicated the book to his son, John Francis, and said having a child as an older man “forces the world on you, and I think it’s a good thing.”

In 2022, Knopf made the startling announcement that it would release McCarthy’s first work in more than 15 years, a pair of connected novels he had referred to in the past: The Passenger and Stella Maris, narratives on a pair of mutually obsessed siblings and the legacy of their father, a physicist who had worked on atomic technology. Stella Maris was notable, in part, because it centered on a female character, an acknowledged weakness of McCarthy’s.

“I don’t pretend to understand women,” he told Winfrey.

His first novel, The Orchard Keeper — written in Chicago while he was working as an auto mechanic — was published by Random House in 1965. His editor was Albert Erskine, Faulkner’s longtime editor.

Other novels include Outer Dark, published in 1968; Child of God in 1973; and Suttree in 1979. The violent Blood Meridian, about a group of bounty hunters along the Texas-Mexico border murdering Indians for their scalps, was published in 1985. His Border Trilogy books were set in the Southwest along the border with Mexico: All the Pretty Horses (1992) — a National Book Award winner that was turned into a feature film — The Crossing (1994) and Cities of the Plain (1998).

McCarthy said he was always lucky. He recalled living in a shack in Tennessee and running out of toothpaste, then going out and finding a toothpaste sample in the mailbox.

“That’s the way my life has been. Just when things were really, really bleak, something would happen,” said McCarthy, who won a MacArthur Fellowship — one of the so-called “genius grants” — in 1981.

McCarthy attended the University of Tennessee for a year before joining the Air Force in 1953. He returned to the school from 1957 to 1959 but left before graduating. As an adult, he lived around the Great Smoky Mountains before moving West in the late 1970s, eventually settling in Santa Fe.

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Hong Kong’s Film Industry Quietly Blooming Again, Despite Censorship

A young actress drags a suitcase despondently up a tree-shaded street, as a crew shoots a scene in a film about director Norris Wong’s unachieved dream of becoming a Cantopop lyricist. 

The movie “The Lyricist Wannabe” is the latest from Wong and part of an unprecedented trend in Hong Kong’s moviemaking history — the growth of its indie films.  

Hong Kong films used to be made by big production companies. They were exported around the world in the industry’s heyday from the 1970s to early ’90s when Hong Kong was considered the Hollywood of Asia, turning out stars such as Bruce Lee, Jackie Chan, Chow Yun-Fat and recent Oscar Best Actress winner Michelle Yeoh. 

But the industry has declined in recent decades. Hollywood blockbusters flooded in and companies switched to making movies that appealed to China’s bigger and more lucrative market, according to industry players. 

“The Hong Kong market had totally collapsed. Very experienced directors all went to the mainland. They make $10 million films there, so they won’t make $1 million films here,” said Mani Man, vice president of mm2, a company that supports indie films. “It’s like the parents have all left, we’re like orphans creating a new world.”  

Now, Hong Kong may be starting to see a revival in its film industry. In the five years before COVID-19 hit, 275 locally produced movies were made, more than the 256 in the previous five years, including independent films by new directors, according to the Hong Kong Motion Picture Industry Association. 

Fewer films were made during the pandemic, but several enjoyed great success, breaking box office records. 

What has helped drive this trend are Hong Kong’s tough COVID-19 travel restrictions, which kept directors and audiences at home, giving the former a chance to make local films and the latter the time to watch them. 

The government has also provided $50 million in funding to revive the industry in the past 15 years, including $30 million in just the past six years, enabling many small- and medium-budget films and new directors’ first feature to be made, according to statistics from the Film Development Council.  

Also, the 2019 social and political unrest in Hong Kong and Beijing’s passage of a national security law in response to it have made some worry about changes to their way of life. Industry experts say there is a yearning among audiences in the city for films that reflect their lives. 

“Because of all these uncertainties in Hong Kong society, it inspired some local movies which try to tell the stories about Hong Kong people,” said Dorothy Lau, a professor at Hong Kong Baptist University’s Academy of Film. “People are trying to pursue their own identity, stories that belong to themselves.” 

For example, the highest recent local earner, “A Guilty Conscience,” a film about a lawyer trying to find evidence to get his innocent client acquitted, dealt with the issue of justice — a theme that resonated with moviegoers as they see pro-democracy activists, a newspaper publisher and protesters tried under the new law.  

“In the mind of many local residents, they look for justice but feel disappointed when they see reality. When they watch ‘A Guilty Conscience,’ they feel somebody is speaking their mind to inspire them to stay hopeful in what they see as the bleak reality,” Lau said. 

The government has said the law has restored peace after disruptive and sometimes violent anti-government protests in 2019. 

The film, which raked in $15 million, setting a record for a Hong Kong film, is among three that made it onto the list of Hong Kong box office hits over the past year, a list previously dominated by Hollywood blockbusters. 

Low-budget movies also made profits or broke even, while winning local and regional awards as they took on subjects that big studios neglected. Some of those include the struggles of blue-collar workers (“The Narrow Road”), the repressed love of closeted elderly gay men (“Twilight’s Kiss”), and homelessness (“Drifting”).

“It’s important for Hong Kong to have its own movies and stories to be told on the big screens because cinema has always been a very good medium that preserves local culture,” said the 36-year-old Wong, who cobbled together $294,000 for her latest movie, with a loan from a director friend and earnings from her debut film “My Prince Edward,”  which is about a woman who learns to assert herself. 

Still, there are limits to the kinds of topics that can be featured. The national security law and subsequent amendments to film censorship guidelines make subjects with political content untouchable. 

Several documentaries about the 2019 pro-democracy protests have been banned, according to media reports. Some content deemed sensitive has been deleted from films, including three being screened at a local film festival this month. 

In response to questions from VOA, the Office for Film, Newspaper and Article Administration issued a statement saying the amendments “did not change the fact that the public and the film industry continue to enjoy freedom of creation and freedom of speech under the premise of abiding by the law and protecting national security.” 

It said that since the amended guidelines took effect in 2021, it has approved all but six of the more than 4,100 applications for film classification and public screening.  

Directors meanwhile continue to make films about Hong Kong, with some showing them overseas or switching to less sensitive topics. At the Fresh Wave International Short Film Festival, which runs from June to July, filmmakers highlighted censorship by replacing deleted scenes with black images and muted sound.  

Independent film and documentary maker Lam Sum’s 2021 film “May You Stay Forever Young” — about the 2019 protests — was not approved. But he went on to be nominated for Best Director at the Hong Kong Film Awards this year for “The Narrow Road.”    

“I didn’t think about giving up because I really like to make films. To me, this is a challenge for creators — how to tell stories in this space,” said Lam, 37.  

Despite the concerns about censorship, funding, and fewer audiences with the lifting of travel restrictions, directors believe now is as good a time as any to make films.  

“I’m quite optimistic. … We no longer need to have big production companies’ support to make a film,” Wong said. “It will bring about more Hong Kong homegrown films.” 

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Hong Kong Film Industry Undergoing Revival

In its heyday, Hong Kong was the Hollywood of Asia, turning out stars such as Bruce Lee, Jackie Chan, Chow Yun-Fat and recent Best Actress Oscar winner Michelle Yeoh. While the industry has seen a decline over the past two decades, Hong Kong is experiencing what some say is a film revival, despite stricter controls and censorship. For VOA, Cindy Sui reports from Hong Kong.

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McCartney: ‘Final Beatles Record’ Out This Year Aided by AI

A “final Beatles record”, created with the help of artificial intelligence, will be released later this year, Paul McCartney told the BBC in an interview broadcast on Tuesday.

“It was a demo that John (Lennon) had, and that we worked on, and we just finished it up,” said McCartney, who turns 81 next week.

The Beatles — Lennon, McCartney, George Harrison and Ringo Starr — split in 1970, with each going on to have solo careers, but they never reunited.

Lennon was shot dead in New York in 1980 aged 40 while Harrison died of lung cancer in 2001, aged 58.

McCartney did not name the song that has been recorded but according to the BBC it is likely to be a 1978 Lennon composition called “Now And Then”.

The track — one of several on a cassette that Lennon had recorded for McCartney a year before his death — was given to him by Lennon’s widow Yoko Ono in 1994.

Two of the songs, “Free As A Bird” and “Real Love”, were cleaned up by the producer Jeff Lynne, and released in 1995 and 1996.

An attempt was made to do the same with “Now And Then” but the project was abandoned because of background noise on the demo.

McCartney, who has previously talked about wanting to finish the song, said AI had given him a new chance to do so.

‘Now and Then’

Working with Peter Jackson, the film director behind the 2021 documentary series “The Beatles: Get Back”, AI was used to separate Lennon’s voice and a piano.

“They tell the machine, ‘That’s the voice. This is a guitar. Lose the guitar’,” he explained.

“So when we came to make what will be the last Beatles’ record, it was a demo that John had (and) we were able to take John’s voice and get it pure through this AI.

“Then we can mix the record, as you would normally do. So it gives you some sort of leeway.”

McCartney performed a two-hour set at last year’s Glastonbury festival in England, playing Beatles’ classics to the 100,000-strong crowd.

The set included a virtual duet with Lennon of the song “I’ve Got a Feeling”, from the Beatles’ last album “Let It Be”.

Last month, Sting warned that “defending our human capital against AI” would be a major battle for musicians in the coming years.

The use of AI in music is the subject of debate in the industry, with some denouncing copyright abuses and others praising its prowess.

McCartney said the use of the technology was “kind of scary but exciting because it’s the future”, adding: “We’ll just have to see where that leads.”

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India Denies Dorsey’s Claims It Threatened to Shut Down Twitter

India threatened to shut Twitter down unless it complied with orders to restrict accounts critical of the government’s handling of farmer protests, co-founder Jack Dorsey said, an accusation Prime Minister Narendra Modi’s government called an “outright lie.”

Dorsey, who quit as Twitter CEO in 2021, said on Monday that India also threatened the company with raids on employees if it did not comply with government requests to take down certain posts.

“It manifested in ways such as: ‘We will shut Twitter down in India’, which is a very large market for us; ‘we will raid the homes of your employees’, which they did; And this is India, a democratic country,” Dorsey said in an interview with YouTube news show Breaking Points.

Deputy Minister for Information Technology Rajeev Chandrasekhar, a top ranking official in Modi’s government, lashed out against Dorsey in response, calling his assertions an “outright lie.”

“No one went to jail nor was Twitter ‘shut down’. Dorsey’s Twitter regime had a problem accepting the sovereignty of Indian law,” he said in a post on Twitter.

Dorsey’s comments again put the spotlight on the struggles faced by foreign technology giants operating under Modi’s rule. His government has often criticized Google, Facebook and Twitter for not doing enough to tackle fake or “anti-India” content on their platforms, or for not complying with rules.

The former Twitter CEO’s comments drew widespread attention as it is unusual for global companies operating in India to publicly criticize the government. Last year, Xiaomi in a court filing said India’s financial crime agency threatened its executives with “physical violence” and coercion, an allegation which the agency denied.

Dorsey also mentioned similar pressure from governments in Turkey and Nigeria, which had restricted the platform in their nations at different points over the years before lifting those bans.

Twitter was bought by Elon Musk in a $44 billion deal last year.

Chandrasekhar said Twitter under Dorsey and his team had repeatedly violated Indian law. He didn’t name Musk, but added Twitter had been in compliance since June 2022.

Big tech vs Modi

Modi and his ministers are prolific users of Twitter, but free speech activists say his administration resorts to excessive censorship of content it thinks is critical of its working. India maintains its content removal orders are aimed at protecting users and sovereignty of the state.

The public spat with Twitter during 2021 saw Modi’s government seeking an “emergency blocking” of the “provocative” Twitter hashtag “#ModiPlanningFarmerGenocide” and dozens of accounts. Farmers’ groups had been protesting against new agriculture laws at the time, one of the biggest challenges faced by the Modi government.

The government later gave in to the farmers’ demands. Twitter initially complied with the government requests but later restored most of the accounts, citing “insufficient justification”, leading to officials threatening legal consequences.

In subsequent weeks, police visited a Twitter office as part of another probe linked to tagging of some ruling party posts as manipulated. Twitter at the time said it was worried about staff safety.

Dorsey in his interview said many India content take down requests during the farmer protests were “around particular journalists that were critical of the government.”

Since Modi took office in 2014, India has slid from 140th in World Press Freedom Index to 161 this year, out of 180 countries, its lowest ranking ever.

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BTS Turns 10; Seoul Lights Up Landmarks to Celebrate

Skyscrapers, bridges and other landmarks in South Korea’s capital will be lit up in purple Monday as the country begins celebrating the 10th anniversary of K-pop band BTS, whose global popularity is a source of national pride.

The lights will provide the backdrop for various social media-driven events marking the 2013 debut of the seven-member group, which is now on a temporary hiatus as its singers take turns releasing solo material while the others begin to serve their mandatory military duties.

From Monday evening, numerous Seoul structures, including City Hall, the 123-story Lotte World Tower, several Han River bridges, and the futuristic DDP — a Zaha Hadid-designed aluminum and concrete dome that’s often used for visual art — will be bathed in purple, a color associated with BTS, according to city officials and the group’s management company, Hybe.

Messages congratulating BTS were displayed on digital screens in buildings across Seoul, while postal authorities issued stamps marking the group’s anniversary, which will be available at post offices starting Tuesday.

Seoul officials hope that the celebrations, which will continue for around two weeks, will boost tourism. The city has designated more than a dozen sites associated with BTS, including places where the group held major performances or shot some of their famous videos.

Fireworks are planned at a park Saturday night near the Han River, hours after one of the BTS singers, RM, holds a live talk with fans that will be broadcast online.

Quickly garnering huge followings in Asia following their debut, BTS’ popularity expanded across the globe with their 2020 megahit “Dynamite,” the band’s first all-English song that made it the first K-pop act to top Billboard’s Hot 100. BTS has since performed in sold-out arenas around the world and was invited to speak at United Nations meetings, supported by a legion of global followers who call themselves the “Army.”

BTS’ activities as a full group are currently on hold as the artists begin to serve in the military. Two BTS singers – Jin and J-Hope – have already started their compulsory 18-month service and other members are to follow in the coming months, which likely means the group will reconvene around 2025.

In South Korea, all able-bodied men are required to serve in uniform 18-21 months under a system meant to deter aggression from rival North Korea.

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Startup Firm Leads Kenya Into World of High-Tech Manufacturing

A three-year-old startup company is leading Kenya into the world of high-tech manufacturing, building a workforce capable of making semiconductors and nanotechnology products that operate modern devices from mobile phones to refrigerators. 

Anthony Githinji is the founder of Semiconductors Technologies Limited, or STL, located in Nyeri, about a three hours’ drive from Nairobi. 

He brought his know-how to Kenya from the United States, where he started work in 1997 on semiconductors — materials that conduct electricity and are used in thousands of products. 

He said the biggest barrier to entry in any high-tech business is finding a workforce with the right skills. In deciding to start a business in Kenya, his country of origin, Githinji said a meeting with the vice-chancellor of Dedan Kimathi University of Science and Technology, also known as DEKUT, was a game changer. 

“DEKUT and STL formed a partnership that allowed for us to engage STEM-related education and develop it, tool it and orient it toward our specific industry, which is the semiconductor and microchip space and so we started attaching students and having internships through STL, and it became very clear and very quickly that the level and caliber of the education system and the product of DEKUT, I believe most institutions of higher learning in Kenya are very high level,” Githinji said.

Female engineers

STL employs about 100 engineers, 70 percent of them women.

Irene Ngetich, a process engineer with a background in telecommunications and electrical engineering, graduated from DEKUT in 2019. She said she entered the STEM (Science, Technology, Engineering, and Mathematics) sector after reading an article recommended by her father about another woman in the field. 

“So, when I read through [it] … she mentioned that in her class there were only two ladies. Of course, I love doing challenging things; so that stood out for me,” she said.

Ngetich said the company’s goal is “to be the leading [computer] chip manufacturer in Africa.” 

Semiconductors are used in almost every sector of electronics. In consumer electronics, for example, they are used in microwave ovens, refrigerators, mobile phones, laptops, and video game consoles. 

Lorna Muturi, a mechatronics engineer who will be graduating from DEKUT this year, is just 22 years old, but already has been working at STL for two years.

“We build the semiconductor manufacturing machine within the plant and as a mechatronics engineer, I am involved in the automation of the system; [and] also involved in the diagnostics of the system in case there’s an issue,” she explained about her job.

Muturi said that at STL, she works with people who are comfortable with her and accept her as a woman engineer. Now she’s able to go out and inspire others to join the STEM field.

STL CEO Githinji said the company prides itself on being gender overbalanced on the female side. He said the company turned out that way because of an extremely vigilant human resource development program.

“What you see at STL, whether it’s deliberate or inadvertent, is the result of pretty rigorous attention to the human resource capacity of the individual. It so turns out that these young women in STEM at STL have a very compelling story to tell. They are extremely intelligent, they are doing exceptionally well, training very well and they are producing very well,” he told VOA.

He added, “We also do have a lot of young men who perform very well and are exceptional in what they do.”

Looking ahead

Githinji said the company is not profitable yet.

“We are still in the phase of building capacity, so there’s a lot of expense that sinks into creating that capacity,” he said. “The good news, though, is that we have customers, we have products, we have the view that these products are going to be more and more adaptable and compelling in the marketplace.”

The company is working to establish relationships with other universities in Kenya, such as Strathmore and University of Eldoret, as well as in Uganda and Rwanda.

Githinji said he has also established a foundation named after his mother and his mother-in-law, with a goal of empowering under-privileged girls through STEM. With partners, he has built a computer lab in a remote village near Mount Kenya with about 20 workstations so kids and their families can benefit. 

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Denver Contemporary Art Gallery Adds 2 Painters from Ghana

The new Modern Art gallery at the Denver Art Museum includes two painters from Ghana. VOA’s Scott Stearns gives us a look.

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UN Chief Considering Watchdog Agency for AI   

U.N. Secretary-General Antonio Guterres said Monday that he will appoint a scientific advisory body in the coming days that will include outside experts on artificial intelligence, and said he is open to the idea of creating a new U.N. agency that would focus on AI.

“I would be favorable to the idea that we could have an artificial intelligence agency, I would say, inspired by what the International Atomic Energy Agency is today,” Guterres said of the U.N. nuclear watchdog agency.

He said he does not have the authority to create an IAEA-like agency — that is up to the organization’s 193-member states. But he said it has been discussed and he would see it as a positive development.

“What is the advantage of the IAEA — it is a very solid, knowledge-based institution,” Guterres told reporters. “And at the same time, even if limited, it has some regulatory functions. So, I believe this is a model that could be very interesting.”

The Vienna-based IAEA is the focal point for international nuclear cooperation. It has developed international nuclear safety standards and is both watchdog and advisor on the peaceful use of nuclear energy.

There are growing concerns about the power of artificial intelligence and how it can be abused for negative and even deadly purposes, including from Geoffrey Hinton, who is the scientist known as “the godfather of AI.”

Top U.S. cybersecurity officials have also warned of the growing dangers of AI. 

“I think ultimately there will have to be — and even industry is saying this — there will have to be some sort of regulation to govern the licensing and the use of these capabilities,” U.S. Cybersecurity and Infrastructure Security Agency (CISA) Director Jen Easterly told the Aspen Institute in Washington Monday. 

Easterly also emphasized the need for more dialogue on AI, pointing to proposals like the one being pursued by the U.N. 

“We can have conversations with our adversaries about nuclear weapons,” Easterly said. “I think we probably should think about having these conversations with our adversaries on AI which, after all, will be in my view the most powerful weapons of the century.” 

British Prime Minister Rishi Sunak announced last week plans for the UK to host the first major global summit on AI safety in the autumn.

Guterres said in terms of regulating AI, an industry where things move very quickly, a set of norms established one day can be outdated the next. So, something that is more flexible is necessary. 

“We need a process, a constant process of intervention of the different stakeholders, working together to permanently establish a number of soft law mechanisms, a number of — I would say — norms, codes of conduct and others,” he said.

Guterres said the scientific advisory body he will soon create will also include the chief scientists from the U.N. Educational, Scientific and Cultural Organization (UNESCO) and the International Telecommunication Union (ITU), which is a specialized U.N. agency related to information and telecommunication technology.

He said outside experts, including two from the AI sphere, would be a part of the advisory body.

The UN chief also announced plans for a digital compact he says would be a voluntary “code of conduct” that he hopes technology companies and governments will adhere to, with the aim of decreasing the spread of mis- and dis-information and hate speech to billions of people and making the internet a safer space.

“Its proposals are aimed at creating guardrails to help governments come together around guidelines that promote facts, while exposing conspiracies and lies, and safeguarding freedom of expression and information,” he said. “And to help tech companies navigate difficult ethical and legal issues and build business models based on a healthy information ecosystem.”

He said tech companies have done little to prevent their platforms from contributing to hate and violence, and he criticized governments for ignoring human rights and sometimes taking drastic measures, including sweeping internet shutdowns.

Guterres said he hopes to issue the code of conduct after discussions with member states and before the U.N. Summit of the Future, which is planned for September 2024.

VOA National Security Correspondent Jeff Seldin contributed to this report. 

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Select List of Winners of 2023 Tony Awards

Best musical: “Kimberly Akimbo” 

Best play: “Leopoldstadt” 

Best revival of a musical: “Parade” 

Best revival of a play: “Suzan-Lori Parks’ Topdog/Underdog” 

Best performance by an actress in a leading role in a musical: Victoria Clark, “Kimberly Akimbo” 

Best performance by an actor in a leading role in a play: Sean Hayes, “Good Night, Oscar” 

Best performance by an actress in a leading role in a play: Jodie Comer, “Prima Facie” 

Best book of a musical: “Kimberly Akimbo,” David Lindsay-Abaire 

Best performance by an actor in a leading role in a musical: J. Harrison Ghee, “Some Like It Hot” 

Best performance by an actor in a featured role in a musical: Alex Newell, “Shucked.” 

Best performance by an actress in a featured role in a play: Miriam Silverman, “The Sign in Sidney Brustein’s Window” 

Best performance by an actress in a featured role in a musical: Bonnie Milligan, “Kimberly Akimbo” 

Best performance by an actor in a featured role in a play: Brandon Uranowitz, “Leopoldstadt” 

Best direction of a play: Patrick Marber, “Leopoldstadt” 

Best direction of a musical: Michael Arden, “Parade” 

Best choreography: Casey Nicholaw, “Some Like It Hot” 

Best original score: “Kimberly Akimbo,” Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire 

Best orchestrations: Charlie Rosen and Bryan Carter, “Some Like It Hot” 

Best costume of a musical: Gregg Barnes, “Some Like It Hot” 

Best costume of a play: Brigitte Reiffenstuel, “Leopoldstadt” 

Best lighting design of a play: Tim Lutkin, “Life of Pi” 

Best lighting design of a musical: Natasha Katz, “Sweeney Todd: The Demon Barber of Fleet Street” 

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Tony Awards Make History With Laurels for Nonbinary Actors

The intimate, funny-sad musical “Kimberly Akimbo” nudged aside splashier rivals on Sunday to win the musical crown at the Tony Awards on a night when Broadway flexed its creative muscle amid the Hollywood writers’ strike and made history with laurels for nonbinary actors J. Harrison Ghee and Alex Newell.

“Kimberly Akimbo,” with songs by Jeanine Tesori and a book by David Lindsay-Abaire, follows a teen with a rare genetic disorder that gives her a life expectancy of 16 navigating a dysfunctional family and a high school romance. Victoria Clark, as the lead in the show, added a second Tony to her trophy case, having previously won one in 2005 for “The Light in the Piazza.”

Producer David Stone credited the musical’s writers for penning a magic trick, calling “Kimberly Akimbo” a “musical comedy about the fragility of life, so healing and so profound and joyous that is almost impossible.” The musical took home a leading six awards.

Earlier, Tony Awards history was made when Newell and Ghee became the first nonbinary people to win Tonys for acting. Last year, composer and writer Toby Marlow of “Six” became the first nonbinary Tony winner.

“Thank you for the humanity. Thank you for my incredible company who raised me up every single day,” said leading actor in a musical winner Ghee, who stars in “Some Like It Hot,” the adaptation of the classic cross-dressing comedy film. The soulful Ghee stunned audiences with their voice and dance skills, playing a musician — on the run from gangsters — who tries on a dress and is transformed.

Newell, who plays Lulu — an independent, don’t-need-no-man whiskey distiller in “Shucked” — has been blowing audiences away with their signature number, “Independently Owned.” They won for best featured actor in a musical.

“Thank you for seeing me, Broadway. I should not be up here as a queer, nonbinary, fat, Black little baby from Massachusetts. And to anyone that thinks that they can’t do it, I’m going to look you dead in your face that you can do anything you put your mind to,” Newell said to an ovation.

Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, won best play, also earning wins for director Patrick Marber, featured actor Brandon Uranowitz and Brigitte Reiffenstuel’s costumes.

The British-Czech playwright, who now has five best play Tony Awards, joked he won his first in 1968 and noted that playwrights were “getting progressively devalued in the food chain” despite being “the sharp ends of the inverted pyramid.”

Strike leaves show script less

Second-time Tony Awards host Ariana DeBose opened a blank script backstage before dancing and leaping her way to open the main show with a hectic opening number that gave a jolt of electricity to what is usually an upbeat, safe and chummy night. The writers’ strike left the storied awards show honoring the best of musical theater and plays without a script.

Before the pre-show began, DeBose revealed to the audience the only words that would be seen on the teleprompter: “Please wrap up.” Later in the evening, virtually out of breath after her wordless opening performance, she thanked the labor organizers for allowing a compromise.

“I’m live and unscripted. You’re welcome,” she said. “So to anyone who may have thought that last year was a bit unhinged, to them, I say, ‘Darlings, buckle up.'”

Winners demonstrated their support for the striking writers either at the podium or on the red carpet with pins. Miriam Silverman, who won the Tony for best featured actress in a play for “The Sign in Sidney Brustein’s Window,” ended her speech with: “My parents raised me to believe in the power of labor and workers being compensated and treated fairly. We stand with the WGA in solidarity!”

Jodie Comer, the three-time Emmy nominated star of “Killing Eve” won leading actress in a play for her Broadway debut, the one-woman play “Prima Facie,” which illustrates how current laws fail terribly when it comes to sexual assault cases.

Sean Hayes won lead actor in a play for “Good Night, Oscar,” which dramatizes a long night’s journey into the scarred psyche of pianist Oscar Levant, now obscure but once a TV star.

“This has got to be the first time an Oscar won a Tony,” Hayes cracked.

Suzan-Lori Parks’ “Topdog/Underdog,” a Pulitzer Prize-winning play about sibling rivalry, inequality and society’s false promises, won the Tony for best play revival. She thanked director Kenny Leon and stars Corey Hawkins and Yahya Abdul-Mateen II: “They showed up to be large in a world that often does not much want the likes of us living at all.”

Bonnie Milligan, who won for best featured actress in a musical for “Kimberly Akimbo,” also had a message to the audience: “I want to tell everybody that doesn’t maybe look like what the world is telling you what you should look like — whether you’re not pretty enough, you’re not fit enough, your identity is not right, who you love isn’t right — that doesn’t matter.”

“‘Cause just guess what?” she continued, brandishing her award. “It’s right, and you belong.”

Kander gets lifetime award

Many of the technical awards — for things like costumes, sound, lighting and scenic design — were handed out at a breakneck pace during a pre-show hosted by Skylar Astin and Julianne Hough, allowing winners plenty of airtime for acceptance speeches but little humor.

The pre-show telecast on Pluto featured some awkwardly composed shots and some presenters slipped up on certain words. The tempo was so rapid, it ended more than 10 minutes before the main CBS broadcast was slated to start.

John Kander, the 96-year-old composer behind such landmark shows as “Chicago,” “Cabaret” and “The Scottsboro Boys,” was honored with a special lifetime award. He thanked his parents; his husband, Albert Stephenson; and music, which “has stayed my friend through my entire life and has promised to stick with me until the end.”

Jennifer Grey handed her father, “Cabaret” star Joel Grey, the other lifetime achievement Tony. “Being recognized by the theater community is such a gift because it’s always been, next to my children, my greatest, most enduring love,” the actor said.

Echoing the there of antisemitism, “Parade” — a doomed musical love story set against the real backdrop of a murder and lynching in pre-World War I Georgia that won Tonys as a new musical in 1999 — won for best musical revival, with Michael Arden winning for best musical director.

“‘Parade’ tells the story of a life that was cut short at the hands of the belief that one group of people is more valuable than another and that they might be more deserving of justice,” Arden said. “This is a belief that is the core of antisemitism, white supremacy, homophobia and transphobia and intolerance of any kind. We must come together. We must battle this.”

The telecast featured performances from all the nominated musicals and Will Swenson — starring on Broadway in a Neil Diamond musical — led the audience in a vigorous rendition of “Sweet Caroline.” Lea Michele of “Glee” and now “Funny Girl” fame also performed a soaring version of “Don’t Rain on My Parade.”

It all took place at the United Palace Theatre, in the Washington Heights neighborhood of Manhattan — a new venue for the ceremony, many miles from Times Square and the theater district.

“Thank you all for coming uptown. Never in my wildest dreams, truly,” Lin-Manuel Miranda joked onstage. He, of course, wrote the musical “In the Heights,” set in Washington Heights.

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‘Transformers’ Edge Out ‘Spider-Verse’ to Claim Box Office Lead

It was Miles Morales and the Spider-Verse versus the “Transformers” at the box office this weekend and the bots came out on top.

“Transformers: Rise of the Beasts,” the seventh entry in the series, took the No. 1 spot in its first weekend in North American theaters with $60.5 million according to studio estimates Sunday. “Spider-Man: Across the Spider-Verse” wasn’t too far behind, however, with an estimated $55.4 million in its second weekend.

Paramount Pictures released “Rise of the Beasts” in 3,678 locations starting with Thursday previews. Set in 1994, it’s technically a sequel to the 1980s-set “Bumblebee” and a prequel to the other films. With a new cast led by Anthony Ramos and Dominique Fishback and a new director in Steven Caple Jr., it’s also an attempt to reset and breathe fresh life into the $4.8 billion franchise.

“Rise of the Beasts” also earned $110 million from 68 international markets, giving it a $170.5 million global debut.

Critics didn’t love the movie, but that’s also par for the course for this franchise. Overall, Rotten Tomatoes aggregated a less-than-fresh 52% rating.

“The problem with “Transformers: Rise of the Beasts” is the same problem faced by all of the installments — balancing the humanity with the metal,” wrote AP’s Mark Kennedy in his review.

In fact, the only movie that did get a fresh rating was “Bumblebee,” which also made the least money of all of them. Audiences (62% male) were more positive, giving “Rise of the Beasts” an A- CinemaScore. According to PostTrak surveys, general audiences gave it 4.5 stars out of 5.

While a $60.5 million opening might not seem like enough to support a $200 million production budget, “Rise of the Beasts” is a movie that will make most of its money abroad. Since 2011’s “Transformers: Dark of the Moon,” international ticket sales have accounted for at least 70% of the global box office total. Two of the seven movies, “Dark of the Moon” and “Age of Extinction,” from 2014, made over $1 billion each.

“To have a No. 1 debut is impressive given the formidable competition from ‘Spider-Man: Across the Spider-Verse,’ which had a much stronger opening than anyone anticipated and in its second weekend is a really powerful player,” said Paul Dergarabedian, the senior media analyst for Comscore.

Sony’s “Spider-Verse” sequel fell about 54%. In just two weeks, it’s already surpassed the total domestic box office of the first film with $225.4 million in ticket sales and become the highest grossing Sony Pictures Animation release. With terrific reviews in its arsenal, “Spider-Verse” is likely destined for a longer life at the box office, too.

Third place went to Disney’s “The Little Mermaid,” which earned $23 million in its third weekend, where it’s playing in 4,320 locations in the U.S. and Canada. The live-action movie has made $414.2 million globally to date.

Two other Walt Disney Co. releases rounded out the top five, with “Guardians of the Galaxy Vol. 3” in fourth with $7 million in its sixth weekend and “The Boogeyman,” in weekend two, in fifth place with $6.9 million.

While many of the films in the top 10 are known brands or IP, one original property, A24’s ” Past Lives,” is making waves in the specialty space. Playing on just 26 screens in its second weekend, Celine Song’s romance made $520,772 for a stunning $20,030 per screen average. It expands nationwide on June 23.

The summer movie season should continue to pick up heat with major new films coming nearly every week. Next weekend family audiences get Pixar’s “Elemental,” while the superhero crowd can catch up with “The Flash.”

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

  1. “Transformers: Rise of the Beasts,” $60.5 million.

  2. “Spider-Man: Across the Spider-Verse,” $55.4 million.

  3. “The Little Mermaid,” $22.3 million.

  4. “Guardians of the Galaxy Vol. 3,” $7 million.

  5. “The Boogeyman,” $6.9 million.

  6. “Fast X,” $5.2 million.

  7. “The Super Mario Bros. Movie,” $2.1 million.

  8. “About My Father,” $845,000.

  9. “The Machine,” $575,000.

  10. “Past Lives,” $520,772.

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The Show Must Go On: Putting on a Tony Awards Telecast During a Writers’ Strike

New location? No script? No rehearsal? No sweat. 

Welcome to the 2023 Tony Awards, a show with an extra jolt of electricity this time due to the Hollywood writers’ strike. 

Unpredictability has been inserted into what is usually an upbeat, safe and chummy night. The strike has left Broadway’s biggest night without a script, in a new venue far from the theater district. 

A 1 1/2-hour pre-show on Pluto TV from 6:30-8 p.m. Eastern, hosted by Julianne Hough and Skylar Astin, will then throw to the three-hour main event led by Ariana DeBose on CBS and Paramount+ starting at 8 p.m. Eastern. 

A total of 26 Tony Awards will be handed out Sunday for a season that had 40 new productions — 15 musicals, 24 plays and one special engagement during the first post-pandemic full season. 

Broadway had some very serious works this season, like the new plays “Cost of Living” and “The Kite Runner” and revivals of “Topdog/Underdog” and “Death of a Salesman,” led by Wendell Pierce. A revival of “Parade,” about the lynching of a Jewish businessman starring Ben Platt, was also well received. 

The season also had an element of the fantastical in a puppet-heavy adaptation of the lifeboat book “Life of Pi,” satire in “The Thanksgiving Play” and pure silliness in “Shucked” and “Peter Pan Goes Wrong.” 

“Just like the country and the world is resetting, I think our storytelling and how we get our stories out there is resetting as well,” said Kenny Leon, who directed “Topdog/ Underdog” and “Ohio State Murders” this season. “The positive I take away is the variety of the material, from a Black-led ‘Death of a Salesman’ to new plays like ‘KPOP’ and ‘Ain’t No Mo” and ‘Leopoldstadt’ and ‘Prima Facie.’ I felt the diversity in almost every way — racially, generationally.” 

“Some Like It Hot,” a musical adaptation of the classic cross-dressing movie comedy that starred Tony Curtis and Jack Lemmon, goes into the night with a leading 13 Tony Award nominations. For the top crown, it is pitted against “& Juliet,” which reimagines “Romeo and Juliet” and adds some of the biggest pop hits of the past few decades, “New York, New York,” which combined two generations of Broadway royalty in John Kander and Lin-Manuel Miranda, and “Shucked,” a lightweight musical comedy studded with corn puns. 

The critical musical darling and intimate, funny-sad “Kimberly Akimbo,” with Victoria Clark playing a teen who ages four times faster than the average human, rounds out the best musical category. 

The best new play category is a competition among Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, and “Fat Ham,” James Ijames’ Pulitzer Prize-winning adaptation of Shakespeare’s “Hamlet” set at a Black family’s barbecue in the modern South. 

The rest of the category is made up of “Ain’t No Mo,'” the short-lived but critical applauded work by playwright and actor Jordan E. Cooper, Stephen Adly Guirgis’ Pulitzer Prize-winning play “Between Riverside and Crazy” and “Cost of Living,” parallel stories of two caretakers and their respective patients. 

The answers to some intriguing questions pend: Can Audra McDonald (“Ohio State Murders”) extend her record as the most awarded actor in Tony Awards history? Will either J. Harrison Ghee (“Some Like It Hot”) or Alex Newell (“Shucked”) become the first nonbinary person to win a Tony for acting? (Last year, “Six” composer and writer Toby Marlow became the first out nonbinary winner.) 

Performances are slated from the casts of “Camelot,” “Into the Woods,” “& Juliet,” “Kimberly Akimbo,” “New York, New York,” “Parade,” “Shucked,” “Some Like It Hot” and “Sweeney Todd: The Demon Barber of Fleet Street.” 

In addition, Joaquina Kalukango — the winner of last year’s Tony for best lead actress in a musical — will sing, as will the casts from “A Beautiful Noise” and “Funny Girl.” That means there’ll be plenty of star power, from Josh Groban to Lea Michele. 

It will all take place at the United Palace Theatre, in the Washington Heights neighborhood of Manhattan — a new venue for the ceremony, many kilometers from Times Square and the theater district. 

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AI Chatbots Offer Comfort to the Bereaved

Staying in touch with a loved one after their death is the promise of several start-ups using the powers of artificial intelligence, though not without raising ethical questions.

Ryu Sun-yun sits in front of a microphone and a giant screen, where her husband, who died a few months earlier, appears.

“Sweetheart, it’s me,” the man on the screen tells her in a video demo. In tears, she answers him, and a semblance of conversation begins.

When Lee Byeong-hwal learned he had terminal cancer, the 76-year-old South Korean asked startup DeepBrain AI to create a digital replica using several hours of video.

“We don’t create new content” such as sentences that the deceased would have never uttered or at least written and validated during their lifetime, said Joseph Murphy, head of development at DeepBrain AI, about the “Rememory” program.

“I’ll call it a niche part of our business. It’s not a growth area for us,” he cautioned.

The idea is the same for StoryFile, a company that uses 92-year-old “Star Trek” actor William Shatner to market its site.

“Our approach is to capture the wonder of an individual, then use the AI tools,” said Stephen Smith, boss of StoryFile, which claims several thousand users of its Life service.

Entrepreneur Pratik Desai caused a stir a few months ago when he suggested people save audio or video of “your parents, elders and loved ones,” estimating that by “the end of this year” it would be possible to create an autonomous avatar of a deceased person, and that he was working on a project to this end.

The message posted on Twitter set off a storm, to the point that, a few days later, he denied being “a ghoul.”

“This is a very personal topic and I sincerely apologize for hurting people,” he said.

“It’s a very fine ethical area that we’re taking with great care,” Smith said.

After the death of her best friend in a car accident in 2015, Russian engineer Eugenia Kyuda, who emigrated to California, created a “chatbot” named Roman like her dead friend, which was fed with thousands of text messages he had sent to loved ones.

Two years later Kyuda launched Replika, which offers personalized conversational robots, among the most sophisticated on the market.

But despite the Roman precedent, Replika “is not a platform made to recreate a lost loved one,” a spokesperson, said.

Somnium Space, based in London, wants to create virtual clones while users are still alive so that they then can exist in a parallel universe after their death.

“It’s not for everyone,” CEO Artur Sychov conceded in a video posted on YouTube about his product, Live Forever, which he is announcing for the end of the year.

“Do I want to meet my grandfather who’s in AI? I don’t know. But those who want that will be able to,” he added.

Thanks to generative AI, the technology is there to allow avatars of departed loved ones to say things they never said when they were alive.

“I think these are philosophical challenges, not technical challenges,” said Murphy of DeepBrainAI.

“I would say that is a line right now that we do not plan on crossing, but who knows what the future holds?” he added.

“I think it can be helpful to interact with an AI version of a person in order to get closure — particularly in situations where grief was complicated by abuse or trauma,” Candi Cann, a professor at Baylor University who is currently researching this topic in South Korea.

Mari Dias, a professor of medical psychology at Johnson & Wales University, has asked many of her bereaved patients about virtual contact with their loved ones.

“The most common answer is ‘I don’t trust AI. I’m afraid it’s going to say something I’m not going to accept.’ … I get the impression that they think they don’t have control” over what the avatar does.

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