British prosecutors said on Wednesday they had authorized charges to be brought against former Hollywood movie producer Harvey Weinstein on two counts of indecent assault against a woman 26 years ago.

“Charges have been authorized against Harvey Weinstein, 70, following a review of the evidence gathered by the Metropolitan Police in its investigation,” Rosemary Ainslie, head of the Crown Prosecution Service’s (CPS) Special Crime Division.

The CPS said the alleged assault took place in August 1996 in London. London’s Metropolitan Police said the accusation involved a woman, now aged in her 50s.

Weinstein is currently serving a 23-year prison sentence in the United States after being convicted in 2020 of assaulting former production assistant Mimi Haleyi and raping former aspiring actor Jessica Mann.

That conviction was upheld by a New York appeals court last week.

The verdict was considered a landmark in the #MeToo movement where women came forward to accuse dozens of powerful men of sexual misconduct. Many view the accusations against Weinstein, which surfaced in 2017, as the key spark for that movement.

“The Crown Prosecution Service reminds all concerned that criminal proceedings against the defendant are active and that he has the right to a fair trial,” Ainslie said.
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The stars of the new Saudi-funded golf league tried to fend off concerns on Tuesday about human rights abuses and signing up to accept hundreds of millions of dollars, despite the risk of being banned from long-standing events. 

After announcing he quit the PGA Tour to join the LIV Golf series, Dustin Johnson evaded questioning about the source of the $25 million prize fund for each event flowing from Saudi Arabia’s sovereign wealth fund. The first LIV Golf Invitational is taking place outside London from Thursday. 

Another former major winner — Graeme McDowell — was left at a news conference trying to publicly reconcile causing fractures in golf by signing for the rebel series that appears to be part of Saudi Arabia’s attempt to reshape its image as a backer of lavish sports events rather than one associated with human rights abuses. 

The Northern Irish golfer, who won the U.S. Open and Ryder Cup in 2010, did bring up the 2018 murder of Jamal Khashoggi in the Saudi consulate in Istanbul as a legitimate area of concern of joining a series he accepts is “incredibly polarizing” for the sport. 

“Take the Khashoggi situation,” he said. “We all agree that’s reprehensible. Nobody is going to argue that fact.” 

U.S. intelligence services said they believe the killing of the U.S.-based Saudi journalist came at the orders of the crown prince, Mohammed bin Salman, who heads the Public Investment Fund. The prince denies wrongdoing. 

The fund is providing the hundreds of millions of dollars in sign-on fees and prize money that is enticing players away from the established tours and jeopardizing their participation in the majors and Ryder Cup. 

Human rights groups describe Saudi Arabia’s efforts as “sportswashing” its image. 

McDowell tried to avoid discussing the specifics of the country he is effectively working for. 

“I really feel like golf is a force of good in the world — I just try to be a great role model to kids,” he said. “We are not politicians. I know you guys hate that expression, but we are really not, unfortunately. We are professional golfers. 

“If Saudi Arabia wanted to use the game of golf as a way for them to get to where they want to be and they have the resources to accelerate that experience, I think we are proud to help them on that journey using the game of golf and the abilities that we have to help grow the sport and take them to where they want to be.” 

How, though, McDowell was asked, is that journey helping women who are oppressed in Saudi Arabia, the LGBTQ individuals whose rights to live freely are criminalized, the migrant workers whose rights are violated, the victims of the Saudi-led bombing of Yemen, or the 81 men who were executed by the kingdom in March? 

“I wish I had the ability to be able to have that conversation with you,” McDowell said. “As golfers, if we tried to cure geopolitical situations in every country in the world that we play golf in, we wouldn’t play a lot of golf. It’s a really hard question to answer. 

“We’re just here to focus on the golf and kind of what it does globally for the role models that these guys are.” 

McDowell did most of the talking on Saudi rights issues, with two-time major winner Johnson responding earlier, “I would pretty much say the exact same thing. I’d agree with what Graeme said.” 

The series is being overseen by Greg Norman with 54-hole tournaments and a shotgun start that sees every group start at the same time on different holes. The winner gets $4 million, while last place gets $120,000. 

The golfers are taking more heat than some other athletes who have competed in Saudi Arabia. While sports, including golf, soccer and Formula One, have chosen to take events to Saudi Arabia without the stars having a say, LIV is a case of the players opting out of existing structures to go all-in on the kingdom’s project. Tiger Woods and Rory McIlroy are among the players to reject an approach from LIV. 

“An opportunity like this comes along,” the 42-year-old McDowell said, “where you can play the last three or four years of your career, in a very financially lucrative environment. It would be crazy to walk away from that as a businessman.” 

Ari Fleischer, a former White House press secretary in George W. Bush’s presidency, was the tournament organizer’s host of the two news conferences involving players Tuesday. He posed questions to the golfers before the media had the opportunity. 

Fleischer was asked about a tweet he posted in 2011 that talked about Saudi Arabia and implied that the king was willing to “spend hundreds of billions so he won’t be overthrown.” He said that comment was made “a long, long time ago.” 
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No 15-year-old figure skaters will be allowed to compete at the 2026 Olympics following the controversy surrounding Russian national champion Kamila Valieva at this year’s Beijing Games.

A new age limit for figure skaters at senior international events was passed Tuesday by the International Skating Union in a 110-16 vote that will raise the minimum age to 17 before the next Winter Olympics in Milan-Cortina d’Ampezzo, Italy.

“This is a very important decision,” ISU president Jan Dijkema said. “I would say a very historic decision.”

The limit will be phased in with 15-year-olds continuing to be allowed to compete next season, a minimum age of 16 in the 2023-24 season, rising to 17 the season after, which is the last before the Olympics.

The ISU said the new rule was “for the sake of protecting the physical and mental health, and emotional well-being of the skaters.”

It should disrupt the career of top Russian junior Sofia Akateva, who is 14. Her birthday in July falls days after the July 1 deadline to classify skaters’ ages for the upcoming season, though for the 2026 Olympics she will be 18 and able to compete.

The change was coming even before figure skating at the Beijing Olympics was dominated by the emotional stress put on the 15-year-old Valieva. She was the favorite to take individual gold, after helping the Russians win the team title, before her positive doping test from December was belatedly revealed during the Olympics.

The teenager was allowed to train under intense scrutiny as a Court of Arbitration for Sport hearing was prepared that allowed her to compete pending the full investigation in Russia. That is still ongoing.

However, her main routine was filled with errors and she dropped to fourth place. She was then criticized rink-side by her coach, Eteri Tutberidze.

The ISU drafted an age-limit proposal saying “burnout, disordered eating, and long-term consequences of injury” were a risk to young teenage skaters who are pushed to perform more quadruple jumps.

The decision was criticized in Russia, where skaters are currently banned by the ISU from international competitions because of the country’s military invasion of Ukraine.

“I think it was done to more or less even out the competition, so that our Russian female skaters couldn’t have the opportunity to win world championship, European, Olympic medals,” Dmitri Soloviev, a team event gold medalist for Russia at the 2014 Sochi Olympics, told broadcaster Match TV.

“But in my opinion Eteri Tutberidze will find a way to get our athletes into ideal condition at the age of 17 or 18,” Soloviev said, “so that they can show their best results at international competitions at that age in particular.”
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At a lunch for Tony Award nominees last month, veteran theater producer Ron Simons looked around and smiled. It seemed appropriate that the gathering was held at The Rainbow Room. 

“I can guarantee you I have not seen this many people of color represented across all categories of the Tony Awards,” he recalled. “It was a diverse room. I was so uplifted and impressed by that.” 

For the first full season since the death of George Floyd reignited a conversation about race and representation in America, Broadway responded with one of its most diverse Tony slates yet. 

Multiple Black artists were nominated in every single performance category, including three of five featured actors in a musical, four of six featured actresses in a play, two of seven leading actors in a play and three of five leading actresses in a play. There are 16 Black performance nods out of 33 slots — a very healthy 48%. 

By comparison, at the 2016 Tonys — the breakout season that included the diverse “Hamilton,” “Eclipsed” and “The Color Purple” revival — 14 of the 40 acting nominees for plays and musicals or 35% were actors of color. 

“Let’s hope that the diversity that we saw in the season continues to be the norm for Broadway, that this isn’t just an anomaly or a blip in reaction to what we’ve been through, but just a reset,” said Lynn Nottage, the first writer to be nominated for both a play (“Clyde’s”) and musical (“MJ”) in a single season. 

The new crop of nominees also boasts more women and people of color in design categories, such as first-time nominees Palmer Hefferan for sound design of a play (“The Skin of Our Teeth”), Yi Zhao for lighting design of a play (“The Skin of Our Teeth”) and Sarafina Bush for costume design of a play (“for colored girls who have considered suicide/when the rainbow is enuf”). 

Other firsts this season included L Morgan Lee of “A Strange Loop” becoming the first out trans performer to be nominated for a Tony. Adam Rigg, scenic designer of “The Skin of Our Teeth,” became the first out agender (does not identify with a particular gender) designer nominated, and Toby Marlow, “Six” co-creator is the first out nonbinary composer-lyricist nominated. 

Eleven performers — including Jaquel Spivey from “A Strange Loop,” Myles Frost in “MJ” and Kara Young from “Clyde’s” — received a nod for their Broadway debut performances and 10 designers received nominations for their Broadway debuts, as did creators such as “A Strange Loop” playwright Michael R. Jackson and “Paradise Square” co-book writer Christina Anderson. 

“I’m very, very excited about all the new voices we’re hearing, all the new new writers who are represented on Broadway for the first time,” said A.J. Shively, an actor nominated for “Paradise Square.” “I really hope that trend continues.” 

Perhaps nowhere is the diversity more apparent than in the oldest play currently on Broadway. “Macbeth,” directed by Sam Gold, has a Black Lady Macbeth in Ruth Negga, a woman taking on a traditional male role (Amber Gray plays Banquo), a non-binary actor (Asia Kate Dillon) and disability representation (Michael Patrick Thornton). 

“If all the world’s a stage, our stage certainly is the world. I’m really proud to be up there with all the actors,” says Thornton, who uses his wheelchair as a cunning asset to play the savvy nobleman Lennox. 

But while representation was seen across Broadway this season so was an invisible virus that didn’t care. The various mutations of COVID-19 sickened actors in waves and starved many box offices of critical funds. Skittish theater-goers who returned often had an appetite for only established, comfort shows. 

Several of the Black-led productions came up short, including “Thoughts of a Colored Man,” “Chicken and Biscuits,” and “Pass Over.” They debuted in the fall, just as Broadway was slowly restarting and audiences were most fearful. “Thoughts of a Colored Man” closed early because it didn’t have enough healthy actors, at one point enlisting the playwright himself to get onstage and play a role. 

One of the most painful blows was a revival of Ntozake Shange’s “for colored girls,” which struggled to find an audience. The cast of seven Black women included deaf actor Alexandria Wailes and, until recently, a pregnant Kenita R. Miller. It earned strong notices and a whopping seven Tony nominations. But it will close this week. 

“In past seasons, had there been a play with seven Tony nominations and this bevy of glowing reviews, the show would have gone on for quite a while,” says Simons, the lead producer. “There’s an audience for this show. That’s not the problem. The problem is getting the audience into the theater to see the show.” 

Despite a glut in inventory and not enough consumers, there were clear game-changers, like “A Strange Loop,” a musical about a gay Black playwright, that captured a leading 11 nominations, besting establishment options like a Hugh Jackman-led “The Music Man.” Broadway veterans agree that extraordinary storytelling was available for those hardy souls who bought tickets. 

“I’m really proud to be a part of one of the voices of Broadway this year,” said Anna D. Shapiro, who directed Tracy Letts’ Tony-nominated play “The Minutes,” which exposes delusions at the dark heart of American history. ” I am so impressed by the vitality and the dynamism.” 

Broadway data often suggest improvements one year, then a drop off the next. Take the 2013-14 season, which was rich with roles for African Americans, including “A Raisin in the Sun” starring Denzel Washington, Audra McDonald channeling Billie Holiday in “Lady Day at Emerson’s Bar & Grill” and the dance show “After Midnight.” 

There were also African Americans in nontraditional roles, like James Monroe Iglehart as the Genie in “Aladdin,” Nikki M. James and Kyle Scatliffe in “Les Miserables,” and Norm Lewis becoming the first Black Phantom on Broadway in “The Phantom of the Opera.” 

That season, Black actors represented 21% of all roles. But the next season, the number fell to 9%. 

Camille A. Brown, who this season together with Lileana Blain-Cruz became only the second and third Black women to be nominated for best direction of a play, has weathered the ups and downs. 

“My thing is, let’s see what the next year and the year after that and the year after that look like?” she says. “I think the landscape was definitely a challenge, especially after George Floyd and the events that happened after that. But this is only the first season out after all of that stuff happened. So let’s see if it keeps going and keeps evolving and keeps progressing.” 

Simons is optimistic the gains this year will last and celebrates that, at the very least, a group of diverse actors got their Broadway credits this season. He predicts more Tony winners of color than ever before. 

“Even though the box office hurt all of our feelings, it really is a celebration because never have we seen this kind of diversity happen on Broadway,” he says. “It is a rare year and it is a rare year for both the good and the bad.” 
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 Jennifer Lopez made an emotional speech about how believers and skeptics contributed to her success as she accepted a career achievement honor at the MTV Movie & TV Awards on Sunday. 

“I want to thank the people who gave me joy and the ones who broke my heart — the ones who were true and the ones who lied to me,” said Lopez, who nabbed this year’s Generation Award for actors whose diverse contributions have made them household names. She also took home best song — a new category — for the track “On My Way” from the “Marry Me” soundtrack. 

MTV’s youth-focused celebration of film and TV offered a lighter, breezier awards show with 26 categories in gender-neutral categories such as best villain, best kiss and new category “here for the hookup.” Hosted by Vanessa Hudgens, the ceremony returned to a live format after being pre-recorded for several years. 

Lopez shed tears as she thanked fans, her longtime manager and children for “teaching me to love,” bringing the audience to their feet at the Barker Hangar in Santa Monica, California. 

“I want to thank the people who gave me this life,” said Lopez, 52, later adding, “You’re only as good as the people who you work with. But if you’re lucky, they make you better. I’ve been very lucky in that regard.”

Lopez’s first breakthrough came as a dancer on the 1990s sketch comedy series “In Living Color.” She pursued an acting career and landed a leading role in “Selena” in 1997. She would go on to appear in such films including “Anaconda,” “Out of Sight,” “The Wedding Planner,” “Hustlers” and her latest, “Marry Me.” 

As a singer, Lopez has earned success on the pop and Latin charts with multiple hit songs and albums. She released her multi-hit debut “On the 6” in 1999 and topped the Billboard Hot 100 chart with songs like “If You Had My Love,” “All I Have” and the remixes of “I’m Real” and “Ain’t It Funny.” 

And in 2020, Lopez performed during the Super Bowl halftime show alongside Shakira. 

“Spider-Man: No Way Home” entered the awards as the leading nominee with seven. It took home best movie, and the film’s star Tom Holland won for best performance in a movie. With almost $1.9 billion earned at the box office, it was the biggest film of the year and a fan favorite, but was largely overlooked by the major awards shows. 

Zendaya won for best performance in a show for her role in “Euphoria,” which came away with best show. The HBO series also won here for the hookup. 

Early in the broadcast, 19-year-old singer Olivia Rodrigo won best music documentary for her project “Olivia Rodrigo: driving home 2 u.” Rodrigo, who won three Grammys this year including best new artist, spoke about the importance of creating the film, which involves a road trip, live performances and reflections on her debut album “Sour.” 

“I made ‘driving home 2 u’ for the fans, especially those who couldn’t come to see me on tour,” Rodrigo said. 

Jack Black also received a career achievement award, Comic Genius. He ran onstage and seemed almost out of breath before giving his acceptance speech. 

“I need a little blast of oxygen,” he said before rattling off several films he starred in, like “School of Rock” and two “Jumanji” films. He played in other comedies including “Shallow Hal,” “Tropic Thunder” and the animated “Kung Fu Panda” franchise films, where Black voiced the main character. 

“Comedic genius. C’mon are you kidding? For what?” he said. “I don’t deserve this, but I’ll take it.” 

The ceremony kicked off with “Loki” star Sophia Di Martino winning breakthrough performance for her role as Sylvie on the Disney Plus television series. After the actor claimed her trophy, she talked about being 9 months pregnant when she was offered the role, and her baby being just 3 months old when she started filming. 

“It’s been quite the journey, so this really means a lot to me,” she said. “Thank you to the audience. It’s all for you. Thank you for letting Sylvie into your imaginations.” 

Daniel Radcliffe won best villain for his portrayal of a billionaire in the adventure comedy “The Lost City.” 

Diplo and Swae Lee performed “Tupelo Shuffle” from the upcoming “Elvis” biopic from director Baz Luhrmann. 
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Alec John Such, the bassist and a founding member of the iconic rock band Bon Jovi, has died. He was 70.

The group on Sunday announced the death of Such, the New Jersey band’s bassist from 1983 to 1994. No details on when or how Such died were immediately available. A publicist for singer-songwriter Jon Bon Jovi didn’t immediately respond to messages.

“He was an original,” Bon Jovi wrote in a post on Twitter. “As a founding member of Bon Jovi, Alec was integral to the formation of the band.”

Bon Jovi credited Such for bringing the band together, noting that he was a childhood friend of drummer Tico Torres and brought guitarist and songwriter Richie Sambora to see the band perform. Such had played with Sambora in a band called Message.

The Yonkers, New York-born Such was a veteran figure in the thriving New Jersey music scene that helped spawn Bon Jovi. As manager of the Hunka Bunka Ballroom in Sayreville, New Jersey, Such booked Jon Bon Jovi & The Wild Ones before joining the singer-songwriter’s band. He played with Bon Jovi through the group’s heyday in the 1980s.

Such departed the band in 1994, when he was replaced by bassist Hugh McDonald. He later rejoined the band for its induction into the Rock & Roll Hall of Fame in 2018.

“When Jon Bon Jovi called me up and asked me to be in his band many years ago, I soon realized how serious he was and he had a vision that he wanted to bring us to,” said Such at the Hall of Fame induction. “And I am only too happy to have been a part of that vision.”  
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Narendra Modi rose from his chair and walked briskly towards the podium to deliver another nighttime address to the nation. It was expected the speech would include a rare message of interfaith harmony in the country where religious tensions have risen under his rule.

The Indian prime minister was speaking from the historic Mughal-era Red Fort in New Delhi, and the event marked the 400th birth anniversary celebrations of Guru Tegh Bahadur, the ninth Sikh guru who is remembered for championing religious freedoms for all.

The occasion and the venue, in many ways, were appropriate.

Instead, Modi chose the April event to turn back the clock and remind people of India’s most despised Muslim ruler who has been dead for more than 300 years.

“Aurangzeb severed many heads, but he could not shake our faith,” Modi said during his address.

His invocation of the 17th century Mughal emperor was not a mere blip.

Aurangzeb Alamgir remained buried deep in the annals of India’s complex history. The country’s modern rulers are now resurrecting him as a brutal oppressor of Hindus and a rallying cry for Hindu nationalists who believe India must be salvaged from the taint of the so-called Muslim invaders.

As tensions between Hindus and Muslims have mounted, the scorn for Aurangzeb has grown, and politicians from India’s right have invoked him like never before. It often comes with a cautionary warning: India’s Muslims should disassociate themselves from him as retribution for his alleged crimes.

“For today’s Hindu nationalists, Aurangzeb is a dog whistle for hating all Indian Muslims,” said Audrey Truschke, historian and author of the book “Aurangzeb: The Man and the Myth.”

Hating and disparaging Muslim rulers, particularly Mughals, is distinctive to India’s Hindu nationalists, who for decades have strived to recreate officially secular India into a Hindu nation.

They argue that Muslim rulers like Aurangzeb destroyed Hindu culture, forced religious conversions, desecrated temples and imposed harsh taxes on non-Muslims, even though some historians say such stories are exaggerated. Popular thought among nationalists traces the origin of Hindu-Muslim tensions back to medieval times, when seven successive Muslim dynasties made India their home, until each were swept aside when their time passed.

This belief had led them on a quest to redeem India’s Hindu past, to right the perceived wrongs suffered over centuries. And Aurangzeb is central to this sentiment.

Aurangzeb was the last powerful Mughal emperor who ascended to the throne in the mid-17th century after imprisoning his father and having his older brother killed. Unlike other Mughals, who ruled over a vast empire in South Asia for more than 300 years and enjoy a relatively uncontested legacy, Aurangzeb is, almost undoubtedly, one of the most hated men in Indian history.

Richard Eaton, a professor at the University of Arizona, who is widely regarded as an authority on pre-modern India, said that even though Aurangzeb destroyed temples, available records show it was a little more than a dozen and not thousands, as has been widely believed. This was done for political, not religious reasons, Eaton said, adding that the Muslim emperor also extended safety and security to people from all religions.

“In a word, he was a man of his own time, not of ours,” said Eaton, adding that the Mughal emperor has been reduced to “a comic book villain.”

But for Aurangzeb’s detractors, he embodied evil and was nothing but a religious bigot.

Right-wing historian Makkhan Lal, whose books on Indian history have been read by millions of high school students, said ascribing political motives alone to Aurangzeb’s acts is akin to the “betrayal of India’s glorious past.”

It is a claim made by many historians who support Modi’s Bharatiya Janata Party, also known as the BJP, or its ideological mothership, the Rashtriya Swayamsevak Sangh, a radical Hindu movement that has been widely accused of stoking religious hatred with aggressively anti-Muslim views. They say India’s history has been systematically whitewashed by far-left distortionists, mainly to cut off Indians — mostly Hindus — from their civilizational past.

“Aurangzeb razed down temples and it only shows his hate for Hindus and Hinduism,” said Lal.

The debate has spilled over from academia to angry social media posts and noisy TV shows, where India’s modern Muslims have often been insulted and called the “progeny of Aurangzeb.”

Last month, when a Muslim lawmaker visited Aurangzeb’s tomb to offer prayers, a senior leader from Modi’s party questioned his parentage.

“Why would you visit the grave of Aurangzeb who destroyed this country,” Hemanta Biswa Sarma, northeastern Assam state’s top elected official, thundered during a television interview. Referring to the lawmaker, he said: “If Aurangzeb is your father, then I won’t object.”

The insults have led to more anxieties among the country’s significant Muslim minority who in recent years have been at the receiving end of violence from Hindu nationalists, emboldened by a prime minister who has mostly stayed mum on such attacks since he was first elected in 2014.

Modi’s party denies using the Mughal emperor’s name to denigrate Muslims. It also says it is merely trying to out the truth.

“India’s history has been manipulated and distorted to appease minorities. We are dismantling that ecosystem of lies,” said Gopal Krishna Agarwal, a spokesman of the BJP.

The dislike for Aurangzeb extends far beyond Hindu nationalists. Many Sikhs remember him as a man who ordered the execution of their ninth guru in 1675. The commonly held belief is that the religious leader was executed for not converting to Islam.

Some argue that Modi’s invocation of Aurangzeb’s name at the Sikh guru’s birth anniversary in April serves only one purpose: to further widen anti-Muslim sentiments.

“In so doing, the Hindu right advances one of their key goals, namely maligning India’s Muslim minority population in order to try to justify majoritarian oppression and violence against them,” said Truschke, the historian.

Despite referencing Aurangzeb routinely, Hindu nationalists have simultaneously tried to erase him from the public sphere.

In 2015, New Delhi’s famous Aurangzeb Road was renamed after protests from Modi’s party leaders. Since then, some Indian state governments have rewritten school textbooks to deemphasize him. Last month, the mayor of northern Agra city described Aurangzeb as a “terrorist,” whose traces should be expunged from all public places. A politician called for his tomb to be levelled, prompting authorities to shut it to the public.

A senior administration official, who didn’t want to be named because of government policy, compared efforts to erase Aurangzeb’s name to the removal of Confederate symbols and statues — viewed as racist relics — in the United States.

“What is wrong if people want to talk about the past and right historical wrongs? In fact, why should there be places named after a zealot who left behind a bitter legacy?” the official asked.

This sentiment, fast resonating across India, has already touched a raw nerve.

A 17th-century mosque in Varanasi, Hinduism’s holiest city, has emerged as the latest flashpoint between Hindus and Muslims. A court case will decide whether the site would be given to Hindus, who claim it was built on a temple destroyed on the orders of Aurangzeb.

For decades, Hindu nationalists have laid claim to several famous mosques, arguing they are built on the ruins of prominent temples. Many such cases are pending in courts.

Critics say it could lead to long legal battles, like that of the Babri mosque, which was ripped apart by Hindu mobs with spades, crowbars and bare hands in 1992. The demolition set off massive violence across India and left more than 2,000 people, mostly Muslims, dead. In 2019, India’s Supreme Court gave the site of the mosque to Hindus.

Such worries are also felt by historians like Truschke.

She said the “demonization” of Aurangzeb and India’s Muslim kings is in “bad faith” and promotes “historical revisionism,” which is often backed by threats and violence.

“Hindu nationalists do not think about the real historical Aurangzeb,” said Truschke. “Rather, they invent the villain that they want to hate.”
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Every year thousands of visitors to Las Vegas can’t help falling in love — at least long enough to get married by an Elvis impersonator.

But the company that controls the rights to the King’s likeness has sparked outrage in Sin City by cracking down wedding chapels offering Elvis-themed nuptials.

Authentic Brands Group, which bought a controlling stake in Elvis Presley’s estate in 2013, last month sent cease-and-desist letters to companies offering the kitschy weddings.

The move triggered angry responses from Elvis impersonators, chapel owners, and even the mayor of Las Vegas, who called for a little more open conversation — and less legal action — from the group.

“Elvis Presley long called Las Vegas his home and his name has become synonymous with Las Vegas weddings,” Jason Whaley, president of the Las Vegas Wedding Chamber of Commerce, told AFP.

“The Vegas Wedding Chamber shares a concern that many of our chapels and impersonators livelihoods are being targeted, especially as many are still trying to recover financially from the hurdles we all endured with Covid shutdowns.”

ABG on Thursday apologized for its initial approach, saying it was committed to protecting Presley’s legacy.

“We are sorry that recent communication with a small number of Las Vegas based chapels caused confusion and concern. That was never our intention,” the company said in a statement to AFP.

“We are working with the chapels to ensure that the usage of Elvis’ name, image and likeness are in keeping with his legacy.”

It added: “From tribute artists and impersonators to chapels and fan clubs, each and every one of these groups help to keep Elvis relevant for new generations of fans.”

But a day earlier, the Las Vegas Review-Journal reported that ABG was now offering chapels financial “partnerships,” including annual licensing deals to continue business as usual.

“That is their solution, to pay $20,000 a year to do what we’ve been doing for the past nine years,” said Kayla Collins, co-owner of the Las Vegas Elvis Wedding Chapel.

“This was not on the table a few days ago. Frankly, I think this thing going to the public has changed their minds.”

‘Elvis Pink Caddy’

The move comes weeks before the release of Baz Luhrmann’s new big-screen biopic “Elvis” — a large-scale Warner Bros production expected to boost interest in the singer.

Elvis-themed weddings have been a lucrative business in Las Vegas since the 1970s.

Packages today run as high as $1,600 for the Elvis Pink Caddy Luxury Model Wedding Package, which offers couples the chance to be driven up the aisle of the Viva Las Vegas Wedding Chapel by Elvis in a 1964 pink Cadillac convertible.

Weddings are a $2.5 billion industry in Las Vegas, according to the Wedding Chamber of Commerce.

But while Elvis musical tribute acts are freely allowed under Nevada law, businesses using Presley’s likeness simply to attract publicity and customers are not protected.

Harry Shahoian, one of dozens of Elvis impersonators in the city, who officiates at the Graceland Wedding Chapel in Las Vegas, told the Review-Journal that people just “love to be married by Elvis.”

“I did the whole day Sunday, 22 ceremonies. I’ve done more than 30 in one day, 100 in a week, all of those Elvis-themed.”
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Afghan and Pakistani artists held a protest in front of press club in Peshawar, Pakistan, against the crackdown on Afghan artists who fled their country after the Taliban’s takeover. Muska Safi has more from Peshawar in this report, narrated by Nazrana Yousufzai. Contributors: Nazrana Yousufzai, Roshan Noorzai
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