Netflix, the U.S. video-on-demand company, will not be allowed to compete at the Cannes Film Festival after this year unless it changes its policy and gives its movies a cinema release, organizers said Wednesday.

The 2017 festival, which begins next week, has Netflix films in its competition for the first time, a decision that angered the French movie theater sector as the company said the films will only be streamed to subscribers and not shown in cinemas.

Festival Director Thierry Fremaux had said he believed Netflix would arrange some kind of cinema release for the two films in competition — The Meyerowitz Stories and Okja — both highly anticipated, with stars that include Jake Gyllenhaal, Ben Stiller and Tilda Swinton.

But the festival said Wednesday that no such deal had been reached, and while the two films would be allowed to remain in competition this year, thereafter no film would be accepted that is not guaranteed distribution in French movie theaters.

“The Festival is pleased to welcome a new operator which has decided to invest in cinema,” the festival said on its website in response to rumors that the Netflix films would be excluded at the last minute from Cannes 2017.

“[Cannes] wants to reiterate its support to the traditional mode of exhibition of cinema in France and in the world,” it continued, adding that from next year its rules would explicitly state any film entered for competition would have to “commit itself to being distributed in French movie theaters.”

In France, which proudly defends its culture and language against the global dominance of the United States, the decision is a victory for the traditional cinema distribution sector.

Since its launch in France, according to French movie magazine Premiere, Netflix has “declared war on movie theaters.” Netflix founder and CEO Reed Hastings made a brief but defiant comment on his Facebook page: “The establishment closing ranks against us. See Okja on Netflix June 28th. Amazing film that theatre chains want to block us from entering into Cannes film festival competition.”

Another U.S. streaming service, Amazon, also has a film in competition, Todd Haynes’ Wonderstruck, but has not been subject to the same opposition as it does screen its films at cinemas as well as online.

The Cannes Film Festival runs from May 17 to May 28.
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Modern history. Political change. Urbanization, emotion, and the colors of Washington, DC. For Ukrainian-born photographer Val Proudkii, it’s all filtered through the lens of his camera. In his repertoire: numerous photography competition awards and one printed image signed by former president Barack Obama. After spending a day looking at the nation’s capital through his eyes, VOA’s Iuliia Iarmolenko and Dmytro Savchuk have more.
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It will be lights, camera, action with the Los Angeles 2024 Olympic bid in the spotlight when the International Olympic Committee visits Tinseltown this week as the race to host the Summer Games heats up.

The IOC’s Evaluation Commission will hear a well-worn sales pitch during a three-day visit that will provide a firsthand glimpse at the LA2024 vision.

What commission chief Patrick Baumann of Switzerland and his members discover will find its way into a report presented to IOC members who will decide between Los Angeles and Paris as 2024 host when a vote is held in Peru on Sept. 13.

While there will be no shortage of celebrity firepower and Hollywood pizzazz, starting with a visit to “Jimmy Kimmel Live” on Tuesday and a Los Angeles Dodgers game on Wednesday, LA2024 officials will be out to impress but at the same time emphasize that this is no Olympic blockbuster, like those that have been ravaged by critics for their cost and white elephants.

In fact, the bid is more frugal than flashy with officials touting a proposal that will lean heavily on existing sporting venues such as the Rose Bowl, Forum and the Memorial Coliseum that was the centre piece of the 1932 Olympics and used again for the 1984 Summer Games.

The LA plan calls for no new venue construction and athletes to be housed in renovated student residences on the UCLA campus not far from Beverly Hills.

Casey Wasserman, the entertainment executive heading LA2024, and everyone connected with the bid have stayed on message throughout the process – that Los Angeles can deliver a cost conscious, low-risk Games.

“The report will address a wide range of relevant issues and technical matters, including the sustainability and legacy value of the proposal, its impact on the natural environment, and the experience for athletes, the media, spectators and other Games participants,” Baumann said in a letter to the media.

“It will offer a consensus opinion on the opportunities and strengths of the two candidatures, but will not endorse one over another.”

The report will be made available on July 5.

Los Angeles rescued the Olympics in 1984 by taking over a Games no one wanted and transforming them into the world’s biggest sporting extravaganza pouring billions into IOC coffers.

Cities, however, are no longer lining up to host an Olympics, the astronomical price tag of staging a two-week sporting festival now too extravagant for most tastes but Los Angeles could be in position to revitalise the franchise once again with a fiscal responsible bid.

Paris and LA are the only remaining cities left in the race to secure the 2024 Games, after a number of withdrawals from the process, including Boston, Hamburg, Rome and Budapest.

“We don’t think this campaign is only about the 2024 Games, we believe we have the responsibility to put forward a plan that will serve the Olympic movement long after the 2024 Games are over,” said Wasserman. “LA 2024 is about the future.”
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Visitors to Romania who yearn for a taste of communist-era kitsch now have an entire museum to enjoy.

From the mundane (wedding champagne flutes covered in sequins and bows) to the spectacular (a life-sized Dracula and flashing neon crucifixes), Bucharest’s Kitsch Museum celebrates questionable taste of the past and present.

“My favorite kitsch, which has unfortunately been damaged, is a statue of Christ with an incorporated room thermometer,” said Cristian Lica, who opened the museum to show off a collection he has amassed over two decades. “The creativity behind kitsch must be admired.”

The 215 exhibits are curated into several categories: communist, Dracula, Orthodox Church, contemporary and Gypsy kitsch, which, Lica said, was not meant to offend the Roma minority.

“We don’t want to insult anyone. We didn’t invent anything. We just picked up items from the reality around us,” he said.

Lica, who has traveled to over 100 countries and has written a travel book, said he thought Romania has been particularly prone to kitsch as it rushed to catch up with the aspirational living standards of its richer Western neighbors.

In the communism collection, plain cotton underwear hangs out to dry, a common sight on apartment balconies of the era. For Romanians, the tiny museum in the capital’s picturesque old town, is full of recognizable artifacts both from pre-1989 communist times and the present.

“It reminded me of my childhood, how I grew up, how the house looked,” said local visitor Simona Constantin. “I am glad such a museum has opened. Everything I have seen has made me nostalgic.”
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Latin pop star Prince Royce will tour 21 U.S. cities this summer to showcase his new music, which he says has a bit of a new twist.

Known for his Dominican bachata hits, Royce released his fifth studio album, “FIVE,” in February, collaborating with musicians Chris Brown, Zendaya and Shakira. Bachata is a style of romantic music originating in the Dominican Republic.

“I think it’s important to always try new things,” Royce, 27, told Reuters on Tuesday. “On this album, we got Chris Brown singing bachata, he did a little bit of Spanish, Zendaya also singing in Spanish,” he said.

Royce said it was “a pleasure to work with” Shakira, adding that he shares a lot in common with the “Hips Don’t Lie” singer.

“She’s very involved with every detail,” said Royce. “I identify with her a lot because that’s the way I am. I like to listen to a song 1,000 times.”

Since launching his career in 2009, Royce, who was born in the New York City borough of The Bronx, has garnered 15 No. 1 hits on Latin radio charts, 21 Latin Billboard Awards and 9 Latin Grammy nominations.

Although he is proud of his accomplishments, Royce said he chooses to live in the present.

“I think it’s always good to focus on today,” Royce said. “I think that’s what always keeps that hunger, keeps that motivation.”

He will kick off his summer tour on June 29 in Laredo, Texas and end it on July 30 in Miami.
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Three women stare down from the gallery wall — colorful, defiant and imbued with a spirit of working for the many not the few.

They are a brigadier, a factory worker and a youth volunteer with a hoe. They are paintings of socialist realism. They are also all Albanian women from the time of Enver Hoxha, who created one of the world’s most closed societies until his death in 1985.

Visitors to Greece’s capital have a relatively rare opportunity to see Hoxha-era art on display outside its regular home in Tirana’s National Gallery of Art.

The portraits are part of documenta 14, the Kassel, Germany-based exhibition of Western European modern art that this year is being hosted both in Kassel and Athens.

Hundreds of documenta 14 displays are to be found in museums across the Greek city until July, with the three women portraits among the offerings at EMST, the National Museum of Contemporary Art located in the old but renovated Fix brewery building.

The paintings — by Spiro Kristo (1976), Zef Shoshi (1969) and Hasan Nallbani (1968) — draw you in and can inspire.

But they were also political, more than acceptable to Hoxha, who saw threats from the West, Russia, the then-Yugolavia and just about everywhere.

In a sense, they are modernist icons for the only society in the world that was officially atheist.

As Edi Muka, an Albanian art critic and curator, notes of Shoshi’s factory worker, “representations of motherhood as constitutive of women’s central role in religious art are carefully removed.”

Hoxha-era paranoia was to be found everywhere from spikes in vineyards to deter potential enemy paratroopers to more than 700,000 concrete bunkers across the country, housing soldiers on guard for potential attack.

So it was not all easy for painters. Not far from the three women, documenta 14 has hung a 1971 painting “Planting of Trees” by Edi Hila.

It depicts blissfully happy young people planting trees for their country.

Too blissfully happy, perhaps. Almost “expressive dancing,” in the words of the painter.

“My work stepped out of the contours of socialist realism,” Hila told Reuters in Tirana. “Generally in those works the positive, the hero, is in the center. … The compositional structure was different so this hurt their taste.”

Hila, deemed to be in need of re-education, ended up being sentenced to work as a loader on a chicken farm. His drawings from that time — showing a different kind of realism — are also on display in Athens.
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Jimmy Kimmel zinged his critics as he returned to late-night TV and resumed arguing that Americans deserve the level of health care given his infant son.

Back on ABC’s “Jimmy Kimmel Live” Monday after a week’s absence, he said baby Billy is recovering well from open-heart surgery for a birth defect and thanked well-wishers. Then he charged back into the fraught topic.

“I made an emotional speech that was seen by millions, and as a result of my powerful words on that night, Republicans in Congress had second thoughts about repeal and replace” of the Affordable Care Act, he joked. “I saved health insurance in the United States of America!”

“What’s that? I didn’t save it? They voted against it anyway?” Kimmel said. The House approved the American Health Care Act last week.

He dismissed those who labeled him an elitist — as a youngster, his family bought powered milk because they couldn’t afford fresh, he said — and pretended to repent for his previous comments.

“I’d like to apologize for saying that children in America should have health care. It was insensitive, it was offensive, and I hope you can find it in your heart to forgive me,” Kimmel said.

He took on former Rep. Newt Gingrich, saying his claim that all children would receive the same surgery as Kimmel’s son in an emergency fell short of addressing what follows.

“That’s terrific if your baby’s health problems are all solved during that one visit. The only problem is that never, ever happens. We’ve had a dozen doctor’s appointments since our son had surgery,” Kimmel said.

Kimmel brought on a current GOP lawmaker, U.S. Sen. Bill Cassidy of Louisiana, a physician, who had suggested that the Senate’s upcoming health care legislation should have a “Jimmy Kimmel test” of covering pre-existing conditions but in a fiscally conservative way.

During a satellite interview with Cassidy, Kimmel asked about his position on issues including uninsured workers and protection of children under a revised health care bill.

The senator called on viewers to contact their representatives and urge support of final legislation that fulfills President Donald Trump’s promise to lower premiums combined with coverage that passes the Kimmel standard.

Kimmel called for his namesake test to guarantee that no family be denied medical care, emergency or otherwise, because they can’t afford it.

“You’re on the right track,” Cassidy said, but the country has to be able to pay for it.

“Don’t give a huge tax cut to millionaires like me,” Kimmel replied.

On last Monday’s show, the host detailed how Billy’s routine birth April 21 suddenly turned frightening when he was diagnosed with a hole in the wall separating the right and left sides of the heart and a blocked pulmonary valve, a condition known as tetralogy of Fallot with pulmonary atresia. He successfully underwent surgery, but will face more as he grows.

Using his son as an example, Kimmel called for health care for all and for pre-existing conditions to remain covered as provided by the Affordable Care Act passed under President Barack Obama.

“If your baby is going to die and it doesn’t have to, it shouldn’t matter how much money you make. … Whether you’re a Republican or a Democrat or something else, we all agree on that, right?” he said.

The video of Kimmel’s tearful monologue went viral, drawing praised by some, including Obama, and harsh criticism from others.
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Anne Morrissy Merick, who successfully fought for equal treatment of female reporters during the Vietnam War, has died. She was 83.

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

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

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

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

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

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

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

She married Dr. Don R. Janicek and lived with him in Naples until his death in 2016. She is survived by her daughter, a sister and four granddaughters.
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It’s not a movie set, but visitors to Disney World’s new Pandora-World of Avatar land are in for a cinematic experience.

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

 

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

 

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

 

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

Flight of Passage is ride’s highlight

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

 

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

 

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

 

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

Indoor river ride

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

 

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

 

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

A mix of real and artificial plants

 

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

 

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

 

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

 

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

 

 

New way to order food

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

 

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

 

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

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

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

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

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

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

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

“Being the best player in footballing history, he definitely has more work than he can handle. I could be his representative when he is too busy,” he said.
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Pepe, the green, cartoon frog who some believed was a symbol of white supremacy, is dead.

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

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

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

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

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

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

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