A New York City judge on Thursday dismissed a claim by Donald Trump’s brother that sought to halt the publication of a tell-all book by the president’s niece, saying the court lacked jurisdiction in the case.  Surrogates Court Judge Peter Kelly said the claims were not appropriate for his court, where disputes over estate matters are settled.  The motion filed earlier this week sought an injunction to prevent Mary Trump and the book’s publisher, Simon & Schuster, from releasing it, as scheduled, in July. Mary Trump is the daughter of Fred Trump Jr., the president’s elder brother, who died in 1981. An online description of her book, “Too Much and Never Enough: How My Family Created the World’s Most Dangerous Man,” says it reveals “a nightmare of traumas, destructive relationships, and a tragic combination of neglect and abuse.” Robert Trump’s lawyers filed court papers arguing that Mary Trump and others had signed a settlement agreement that would prohibit her from writing the book. The settlement decades ago included a confidentially clause explicitly saying they would not “publish any account concerning the litigation or their relationship,” unless they all agreed.  The agreement related to the will of Donald Trump’s father, New York real estate developer Fred Trump. Mary Trump’s attorney, Ted Boutrous Jr., said the court was correct in its decision.  “We hope this decision will end the matter. Democracy thrives on the free exchange of ideas, and neither this court nor any other has authority to violate the Constitution by imposing a prior restraint on core political speech,” he said in a statement.  The White House did not have an immediate comment Thursday. A spokesman for Simon & Schuster said in a statement that the publishing house was “delighted” with the decision.  
 
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The Eiffel Tower, one of France’s most iconic landmarks, reopened for the first time on Thursday after it was forced to close its doors for months due to the coronavirus pandemic.France was hit badly by the virus, recording 29,731 deaths and 161,348 confirmed cases as President Macron faced heavy criticism regarding his government’s management of the outbreak. Reinstating access to the famed site is yet another sign of Europe’s slow recovery as the continent struggles to balance restarting the economy with public safety concerns.Many countries have expressed cautious optimism about the summer tourist season, hoping that social distancing measures and coronavirus tracing apps will encourage people to travel responsibly.A visitor looks at the view from the Eiffel Tower, in Paris, June 25, 2020.The Eiffel Tower is one of the few Parisian sites permitting visitors. Other tourist attractions, such as the Louvre museum, will remain closed until July 6. To protect visitors, elevators to the tower’s three observation decks scaling 324-meters are closed, and only two of the three decks are open. The remaining deck, as well as the elevators, are expected to open in later summer months.Visitors are free to climb 674 steps to the 2nd floor, according to the Eiffel Tower’s website, which usually takes between 30 to 45 minutes. The tower lost $30 million in revenue from the lockdown that started in March, according to its director general, Patrick Branco Ruivo, and has not been closed for this long since World War II. 
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Back in March, filmmakers Gerard Bush and Christopher Renz gathered their artist friends and a few journalists at Manhattan’s members-only social club, Soho House, for a screening of their first feature-length project, “Antebellum.”They wanted a constructively critical reaction ahead of the planned spring release of the film — a psychological thriller about a Black woman who finds herself trapped in a pre-abolition past that isn’t at all the past. Bush, who is Black, and Renz, who is white, hoped the project would contribute to a national reckoning over the legacy of slavery and white supremacy in the U.S.”To witness how truly moved they were by the film, some even to tears, was the very first time we realized the potential impact ‘Antebellum’ will have on society and the long-deferred conversations that need to be had on race in America,” said the filmmakers, who wrote, directed and produced the project.Then, the coronavirus pandemic exploded internationally.  Once the virus seized up the economy, forcing the closure of movie theaters and all but pushing Hollywood film studios into a mad dash to salvage elaborate release plans, Bush and Renz pulled their film. They said they didn’t want what was intended to be a big theatrical film relegated to a streaming platform, as several movie studios did last spring.  For Bush and Renz, patience may have proven to be a virtue.As many movie theaters reopen in the coming weeks, “Antebellum,” set to be released Aug. 21 by Lionsgate, will debut during the height of a reckoning in America when people are increasingly showing a hunger for works that light a path toward racial justice. Driven in part by nationwide protests over the recent deaths of Black people at the hands of police and vigilantes, it’s a moment that positions “Antebellum” as the only summer release that speaks both to the moment and to the broader movement to defend Black lives from entrenched, systemic racism.”We’ve always believed that 2020 would usher in a brand new era that would require a new type of filmmaking. … We had no idea just how prescient that would prove to be,” Bush and Renz told The Associated Press in a series of interviews and emails since the March screening.”Antebellum,” starring singer and actress Janelle Monáe, plucks the legacy of American slavery out of the past and places it squarely in the present — in a politically divided nation where Confederate nostalgia and white supremacist violence wreak havoc on Black life. The film follows successful Black book author Veronica Henley, played by Monáe, on a quest to destroy the vestiges of that legacy.If that sounds eerily similar to present-day America, it is mere coincidence, Bush and Renz said. Over the last month, protests sparked by the death of George Floyd, a Black man who died May 25 after a white Minneapolis officer held a knee to his neck, have given way to the removal of Confederate monuments, building name changes at public and private schools, and the shedding of racist caricatures from food packaging.Everyday Americans, Black and non-Black, are in the streets demanding seismic policy shifts in policing and the criminal justice system. It’s a consequence of having never reckoned with America’s original sin, Bush said.”We intend to wake people up from the daydream that a superhero is coming to save us,” he said. “Only we, meaning humanity, can save us from ourselves.”Monáe played a supporting role in last year’s “Harriet,” a biopic about the abolitionist Harriet Tubman, and she won critical acclaim for her role in the Academy Award-winning film “Moonlight.” In “Antebellum,” Monáe gives moviegoers a modern Black heroine who takes charge of her own liberation without a male-dominated cavalry.”I knew that it was something that I needed to do, not just for myself, but for my ancestors and for all of the many Black women I considered to be modern-day superheroes,” Monáe told the AP.”I hope that (the film) causes those with privilege in this country to have conversations amongst each other, because the topics in this film … are not for Black people to try to fix,” she added.Monáe had never worked with Bush and Renz prior to “Antebellum,” only learning of them because of their work on visuals that accompanied hip hop mogul Jay-Z’s 4:44 album in 2017. The duo started out more than a decade ago as heads of a creative marketing and advertising firm with luxury brand clients such as Moët, Harry Winston and Porsche.After the 2012 killing of Travyon Martin, the filmmakers found themselves wondering if they were “just gonna sell champagne for the next 20 or 30 years,” Renz said.That period of self-reflection led to partnerships with social justice organizations such as Harry Belafonte’s Sankofa.org. In 2016, Bush and Renz directed ” Against The Wall,” a star-studded video campaign to draw attention to racial profiling in law enforcement featuring actors Michael B. Jordan, who starred in the 2013 police brutality drama “Fruitvale Station,” and Michael K. Williams, of HBO’s “The Wire,” as well as activist and CNN commentator Van Jones.The video shows Black men and women assuming the position, as though they were being stopped and frisked by police, while dispatcher recordings of actual officers describe suspects in racially discriminatory terms. It also included a recording of George Zimmerman’s voice from the day he called police to report Trayvon Martin as a suspected burglar before shooting and killing the Florida teen.That project was followed by others featuring musicreleases from artists such as Ty Dolla $ign, Raphael Saadiq and Mali Music on Jay-Z’s TIDAL streaming service. Their path to feature-length films with a racial justice message has been a long time coming, Bush and Renz said.At times, “Antebellum” uses graphically violent depictions of the inhumane treatment of enslaved people, which in recent films has elicited disapproval from some critics and Black moviegoers who were weary of unimaginative Hollywood slavery films.Bush and Renz said they want audiences to trust that they have done something entirely different.”Some within today’s culture are triggered by art, when that is precisely what art is meant to do. We would much prefer you be triggered in a theater and activated to take meaningful, positive action — than all of us continuing to live in an open-air shooting gallery every time we leave our homes,” Bush said.Even as they anticipate finding box office success with “Antebellum,” Bush and Renz are already at work on their second feature-length script, under a newly formed production company, Gloaming Pictures.”Not since the ’60s has the call for an artistic revolution been so urgent,” Bush said. “The work is only just beginning.”
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Disney is postponing the mid-July reopening of its Southern California theme parks until it receives guidelines from the state, the company announced Wednesday.
Disney had hoped to reopen Disneyland and Disney California Adventure in Anaheim on July 17 after a four-month closure due to the coronavirus. But the state has indicated it won’t issue guidelines until after July 4, the company said.
“Given the time required for us to bring thousands of cast members back to work and restart our business, we have no choice but to delay the reopening of our theme parks and resort hotels until we receive approval from government officials,” Disney said in a statement.
The company didn’t provide a new reopening date. The parks closed on March 14 and the reopening requires government approval.
Gov. Gavin Newsom “appreciates Disney’s responsiveness to his concerns about reopening amid the recent increases in COVID-19 infections across many Southern California counties,” Newsom spokesman Nathan Click said. “The governor, the state and our public health experts continue to be in contact with the company and their workers — as well as other theme parks in the state — as we track and combat the spread of the virus.”
Disney also said it is still negotiating agreements with employee unions, some of which have raised safety concerns about the reopenings. Disney said it has signed agreements from 20 union affiliates representing more than 11,000 employees, detailing enhanced safety protocols.  
Disney also will delay the planned July 23 reopening of its Grand Californian and Paradise Pier hotels.
The Downtown Disney District restaurant and shopping area will reopen on July 9 as previously planned “with health and safety protocols in place for our cast members and guests,” Disney said.
Disneyland fans normally can bank on the park being open regardless of what’s going on in the world around it. The park closed only a handful of times in 65 years. The last time was after the terror attacks on Sept. 11, 2001.
The company indicated it still planned to proceed with reopening Disney World in Florida on July 11. Disney resorts in Shanghai and Hong Kong already reopened.
California is seeing a COVID-19 spike, recording a 69% increase in new cases this week.
The virus causes mild or moderate symptoms for most people but for some, especially older adults and people with existing health problems, it can cause pneumonia and death. 
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Recent research finds that women are more likely than men to produce trustworthy news reports on the COVID-19 pandemic, according to The Factual, a technology company in San Mateo, California, that measures the credibility of hundreds of news outlets.Phillip Meylan, a political analyst at The Factual, said he began crunching data on coronavirus reporting early in the pandemic and started to notice that many of the top-rated articles had been written by women.“Why are eight of them female out of 10? And so if you see that once, it’s kind of incidental. You think, okay, well, that, you know, it’s just random. It’s what I chose. But we saw it over and over and over again,” he told VOA.So he started to look at the data FILE – Marine One arrives on the White House South Lawn as CBS journalist Paula Reid and others prepare for President Donald Trump to board the presidential helicopter, May 14, 2020, in Washington.The Factual uses an artificial intelligence algorithm to determine credibility, based on the publication’s history of trustworthiness, the author’s work, the sources used and the tone of the story. Anything with a rating of 75 percent or above is considered very credible.“What those numbers tell us overall is just that, at least when it comes to coronavirus, female journalists have been more neutral in their tone,” Meylan said. “They’ve been better resourced, and they’ve overall just produced better articles.”Female reporters tend to score more highly than their male counterparts on other kinds of reporting as well, though not by such a significant margin. But allowing for the fact that they are outnumbered by the men, the number of women in the top ranks “does suggest that female journalists on average are more credible.”Meylan said the findings did not suggest that “you should go just read female journalists on coronavirus. But we saw it as an inroad to looking at why female journalists are underrepresented when it comes to anywhere in journalism, and how that may be affecting our news quality overall.“So if female journalists face challenges, face more obstacles, basically, when going out to do stories, whether it’s on coronavirus or the recent protests, how is this affecting our news output? And how is it affecting the overall narratives?” he said.To put the findings into a wider context, The Factual contacted gender equality expert Lucina Di Meco in San Francisco. Di Meco told VOA that in many fields, including journalism and political leadership, women have to be “as prepared or even overprepared to hold the same jobs that men hold, sometimes being paid less for those jobs, and are not afforded any mistakes.”“So it doesn’t surprise me that if we look at issues that are so crucial, women would really be especially careful in their approach, and female journalists in particular would be especially careful in the kind of news that they deliver,” she said.Different approach to leadershipDi Meco is the author of #ShePersisted, a study of the relationship between women and men in politics and social media globally. She said women take an approach to leadership that is “more participatory, that’s more careful, that tries to take into consideration a broader set of stakeholders.“And those are some of the same skills that are needed for a journalist to really shape a very good story that takes into account all the dimensions. So I definitely see parallels here.”FILE – A view of young mother pushing a stroller during the coronavirus pandemic on May 20, 2020, in Bethesda Fountain, Central Park in New York City.“The treatment that female politicians receive is very similar to the treatment that female journalists receive,” she said. “And that’s having to do with the fact that they are public figures.“And there are some groups of the population and some groups of interest [who] just don’t want to see women holding those leadership positions and being thought leaders in our society.”Di Meco noted that the pandemic was negatively affecting women in other ways as well, including greater job losses and an increase in domestic violence.She said policymakers have a responsibility to ensure that the needs of women and girls are taken into account in any decisions on how to deal with the effects of the pandemic, including the economic recovery.
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