Beloved characters like Snoopy and SpongeBob SquarePants soared through the skies above New York City Thursday while bands marched along the streets below as the annual Macy’s Thanksgiving Day Parade ushered in the holiday season.

The parade started on Manhattan’s Upper West Side making its way alongside Central Park in front of big crowds and a national television audience before ending in front of Macy’s flagship store on 34th Street.

Among the big names performing is Cher, who just released her first Christmas album. The Oscar-, Emmy- and Grammy Award-winner has a prime spot — performing just before the arrival of Santa Claus, which marks the end of the parade.

Other celebrities and musical groups taking part include Jon Batiste, Bell Biv DeVoe, Brandy, Jessie James Decker, Pentatonix and Miss America 2023 Grace Stanke. The parade also includes performances from the casts of some Broadway shows.

New balloons debuting this year include Leo the lizard, a character from a Netflix film, who is more than 40 feet (12.5 meters) tall, as well as ones that have been there before — like SpongeBob, coming in at 44 feet (13.4 meters).

Some characters, like Snoopy, have been in the parade for many years, but this year’s balloon is a new Beagle Scout Snoopy version — celebrating the 50th anniversary of his first appearance in the Peanuts comics.

The parade isn’t just about what’s going on in the skies, though. At street level, the procession includes more than two dozen floats, interspersed with marching bands from around the country and a number of clown crews among the 8,000 people participating, organizers said.

Thousands lined the streets in coats on a sunny morning. Children were on the shoulders of their parents, shouting as Snoopy and SpongeBob and Leo the Lizard went by.

Terri Brown, her husband and their children, ages 3, 5 and 8, were groggy after the 30-mile (50-kilometer) drive from Westfield, New Jersey. But their faces lit up as the parade started.

“I’ve always wanted to bring them here since I used to come as a kid,” Brown said. “I’m happy it’s good weather.”

Ross Greenstein drove 10 hours from Michigan to catch the parade with his daughter, who is studying law in New York, as well as his wife and two other children. Before Thursday, he had only seen the parade on TV.

“I grew up every Thanksgiving, waking up and jumping on the couch and watching the parade,” Greenstein said. “We came to see the parade for the first time in my life and it feels very surreal.”

This is the 97th time the parade has been held since 1924.

President Joe Biden and his wife, Jill, called NBC during the parade. The president told Al Roker that people should take a moment to be thankful to live in a country with so much.

“We’re the greatest nation in the world. We should focus on that. We should focus on dealing with our problems and stop the rancor,” Biden said.
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The Indian side of Kashmir is home to very few Christians, but people from the region put their blood and sweat into preparing gifts for Christmas celebrations. For VOA, Muheet Ul Islam has more from Srinagar in Indian-administered Kashmir. Camera: Wasim Nabi
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Russia has placed a Ukrainian singer who won the 2016 Eurovision Song Contest on its wanted list, state news agencies reported Monday.

The reports said an Interior Ministry database listed singer Susana Jamaladinova as being sought for violating a criminal law.

The independent news site Mediazona, which covers opposition and human rights issues, said Jamaladinova was charged under a law adopted last year that bans spreading so-called fake information about the Russian military and the ongoing fighting in Ukraine.

Jamaladinova, who performs under the stage name Jamala, is of Crimean Tatar descent. She won the 2016 Eurovision contest with the song “1944,” a title that refers to the year the Soviet Union deported Crimean Tatars en masse.

Her winning performance came almost exactly two years after Russia annexed Crimea as political turmoil gripped Ukraine. Most other countries regard the annexation as illegitimate.

Russia protested “1944” being allowed in the competition, saying it violated rules against political speech in Eurovision. But the song made no specific criticism of Russia or the Soviet Union, although it drew such implications, opening with the lyrics “When strangers are coming, they come to your house, they kill you all and say ‘We’re not guilty.'”
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Pope Francis’ recent gesture of welcome for transgender Catholics has resonated strongly in a working class, seaside town south of Rome, where a community of trans women has found help and hope through a remarkable relationship with the pontiff forged during the darkest times of the pandemic.

Thanks to the local parish priest, these women now make monthly visits to Francis’ Wednesday general audiences, where they are given VIP seats. On any given day, they receive handouts of medicine, cash and shampoo. When COVID-19 struck, the Vatican bused them into its health facility so they could be vaccinated ahead of most Italians.

On Sunday, these women — many of whom are Latin American migrants and work as prostitutes — will join over 1,000 other poor and homeless people in the Vatican auditorium as Francis’ guests for lunch to mark the Catholic Church’s World Day of the Poor. For the marginalized trans community of Torvaianica, it is just the latest gesture of inclusion from a pope who has made reaching out to the LGBTQ+ community a hallmark of his papacy, in word and deed.

“Before, the church was closed to us. They didn’t see us as normal people, they saw us as the devil,” said Andrea Paola Torres Lopez, a Colombian transgender woman known as Consuelo, whose kitchen is decorated with pictures of Jesus. “Then Pope Francis arrived and the doors of the church opened for us.”

Francis’ latest initiative was a document from the Vatican’s doctrine office asserting that, under some circumstances, transgender people can be baptized and can serve as godparents and witnesses in weddings. It followed another recent statement from the pope himself that suggested same-sex couples could receive church blessings.

In both cases, the new pronouncements reversed the absolute bans on transgender people serving as godparents issued by the Vatican doctrine office in 2015, and on same-sex blessings announced in 2021.

Prominent LGBTQ+ organizations have welcomed Francis’ message of inclusivity, given gay and transgender people have long felt ostracized and discriminated against by a church that officially teaches that homosexual acts are “intrinsically disordered.”

Starting from his famous “Who am I to judge” comment in 2013 about a purportedly gay priest, to his assertion in January that “being homosexual is not a crime,” Francis has evolved his position to increasingly make clear that everyone — “todos, todos, todos” — is a child of God, is loved by God and welcome in the church.

That judgment-free position is not necessarily shared by the rest of the Catholic Church. The recent Vatican gathering of bishops and laypeople, known as a synod, backed off language explicitly calling for welcoming LGBTQ+ Catholics. Conservative Catholics, including cardinals, have strongly questioned his approach. And a 2022 Pew Research Center analysis showed most U.S. Catholics, or 62%, believe that whether a person is a man or woman is determined by the sex assigned at birth, while only a minority, 37%, said it can change.

After his latest statement about trans participation in church sacraments, GLAAD and DignityUSA said Francis’ tone of inclusion would send a message to political and cultural leaders to end their persecution, exclusion and discrimination against transgender people.

For the trans community in Torvaianica, it was a more personal message, a concrete sign that the pope knew them, had heard their stories and wanted to let them know that they were part of his church.

Carla Segovia, a 46-year-old Argentine sex worker, said for transgender women like herself, being a godparent is the closest thing she will ever get to having a child of her own. She said that the new norms made her feel more comfortable about maybe one day returning fully to the faith that she was baptized in but fell away from after coming out as trans.

“This norm from Pope Francis brings me closer to finding that absolute serenity,” she said, which she feels is necessary to be fully reconciled with the faith.

Claudia Vittoria Salas, a 55-year-old transgender tailor and house cleaner, said she had already served as a godparent to three of her nieces and nephews back home in Jujuy, in northern Argentina. She choked up as she recalled that her earnings from her former work as a prostitute put her godchildren through school.

“Being a godparent is a big responsibility, it’s taking the place of the mother or father, it’s not a game,” she said as her voice broke. “You have to choose the right people who will be responsible and capable, when the parents aren’t around, to send the kids to school and provide them with food and clothes.”

Francis’ unusual friendship with the Torvaianica trans community began during Italy’s strict COVID-19 lockdown, when one, then two, and then more sex workers showed up at the Rev. Andrea Conocchia’s church on the main piazza of town asking for food, because they had lost all sources of income.

Over time, Canocchia got to know the women and as the pandemic and economic hardships continued, he encouraged them to write to Francis to ask for what they needed. One night they sat around a table and composed their letters.

“The pages of the letters of the first four were bathed in tears,” he recalled. “Why? Because they told me ‘Father, I’m ashamed, I can’t tell the pope what I have done, how I have lived.'”

But they did, and the first assistance arrived from the pope’s chief almsgiver, who then accompanied the women for their COVID-19 vaccines a year later. At the time of the pandemic, many of the women weren’t legally allowed to live in Italy and had no access to the vaccine.

Eventually, Francis asked to meet them.

Salas was among those who received the jab at the Vatican and then joined a group from Torvaianica to thank Francis at his general audience on April 27, 2022. She brought the Argentine pope a platter of homemade chicken empanadas, a traditional comfort food from their shared homeland.

Showing the photo of the exchange on her phone, Salas remembered what Francis did next: “He told the gentleman who receives the gifts to leave them with him, saying ‘I’m taking them with me for lunch,'” she said. “At that point, I started to cry.”

For Canocchia, Francis’ response to Salas and the others has changed him profoundly as a priest, teaching him the value of listening and being attentive to the lives and hardships of his flock, especially those most on the margins.

For the women, it is simply an acknowledgement that they matter.

“At least they remember us, that we’re on Earth and we haven’t been abandoned and left to the mercy of the wind,” said Torres Lopez.
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Country singers, romance novelists, video game artists and voice actors are appealing to the U.S. government for relief — as soon as possible — from the threat that artificial intelligence poses to their livelihoods.

“Please regulate AI. I’m scared,” wrote a podcaster concerned about his voice being replicated by AI in one of thousands of letters recently submitted to the U.S. Copyright Office.

Technology companies, by contrast, are largely happy with the status quo that has enabled them to gobble up published works to make their AI systems better at mimicking what humans do.

The nation’s top copyright official hasn’t yet taken sides. She told The Associated Press she’s listening to everyone as her office weighs whether copyright reforms are needed for a new era of generative AI tools that can spit out compelling imagery, music, video and passages of text.

“We’ve received close to 10,000 comments,” said Shira Perlmutter, the U.S. register of copyrights, in an interview. “Every one of them is being read by a human being, not a computer. And I myself am reading a large part of them.”

What’s at stake?

Perlmutter directs the U.S. Copyright Office, which registered more than 480,000 copyrights last year covering millions of individual works but is increasingly being asked to register works that are AI-generated. So far, copyright claims for fully machine-generated content have been soundly rejected because copyright laws are designed to protect works of human authorship.

But, Perlmutter asks, as humans feed content into AI systems and give instructions to influence what comes out, “is there a point at which there’s enough human involvement in controlling the expressive elements of the output that the human can be considered to have contributed authorship?”

That’s one question the Copyright Office has put to the public.

A bigger one — the question that’s fielded thousands of comments from creative professions — is what to do about copyrighted human works that are being pulled from the internet and other sources and ingested to train AI systems, often without permission or compensation.

More than 9,700 comments were sent to the Copyright Office, part of the Library of Congress, before an initial comment period closed in late October. Another round of comments is due by December 6. After that, Perlmutter’s office will work to advise Congress and others on whether reforms are needed.

What are artists saying?

Addressing the “Ladies and Gentlemen of the US Copyright Office,” the Family Ties actor and filmmaker Justine Bateman said she was disturbed that AI models were “ingesting 100 years of film” and TV in a way that could destroy the structure of the film business and replace large portions of its labor pipeline.

It “appears to many of us to be the largest copyright violation in the history of the United States,” Bateman wrote. “I sincerely hope you can stop this practice of thievery.”

Airing some of the same AI concerns that fueled this year’s Hollywood strikes, television showrunner Lilla Zuckerman (Poker Face) said her industry should declare war on what is “nothing more than a plagiarism machine” before Hollywood is “coopted by greedy and craven companies who want to take human talent out of entertainment.”

The music industry is also threatened, said Nashville-based country songwriter Marc Beeson, who’s written tunes for Carrie Underwood and Garth Brooks. Beeson said AI has potential to do good but “in some ways, it’s like a gun — in the wrong hands, with no parameters in place for its use, it could do irreparable damage to one of the last true American art forms.”

While most commenters were individuals, their concerns were echoed by big music publishers — Universal Music Group called the way AI is trained “ravenous and poorly controlled” — as well as author groups and news organizations including The New York Times and The Associated Press.

Is it fair use?

What leading tech companies like Google, Microsoft and ChatGPT-maker OpenAI are telling the Copyright Office is that their training of AI models fits into the “fair use” doctrine that allows for limited uses of copyrighted materials such as for teaching, research or transforming the copyrighted work into something different.

“The American AI industry is built in part on the understanding that the Copyright Act does not proscribe the use of copyrighted material to train Generative AI models,” says a letter from Meta Platforms, the parent company of Facebook, Instagram and WhatsApp. The purpose of AI training is to identify patterns “across a broad body of content,” not to “extract or reproduce” individual works, it added.

So far, courts have largely sided with tech companies in interpreting how copyright laws should treat AI systems. In a defeat for visual artists, a federal judge in San Francisco last month dismissed much of the first big lawsuit against AI image-generators, though allowed some of the case to proceed.

Most tech companies cite as precedent Google’s success in beating back legal challenges to its online book library. The U.S. Supreme Court in 2016 let stand lower court rulings that rejected authors’ claim that Google’s digitizing of millions of books and showing snippets of them to the public amounted to copyright infringement.

But that’s a flawed comparison, argued former law professor and bestselling romance author Heidi Bond, who writes under the pen name Courtney Milan. Bond said she agrees that “fair use encompasses the right to learn from books,” but Google Books obtained legitimate copies held by libraries and institutions, whereas many AI developers are scraping works of writing through “outright piracy.”

Perlmutter said this is what the Copyright Office is trying to help sort out.

“Certainly, this differs in some respects from the Google situation,” Perlmutter said. “Whether it differs enough to rule out the fair use defense is the question in hand.”
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A 23-year-old Taylor Swift fan died at the singer’s Eras Tour concert in Rio de Janeiro Friday night, according to a statement from the show’s organizers in Brazil. Both fans and politicians reacted to the news with outrage.

While a cause of death for Ana Clara Benevides Machado has not been announced, fans complained they were not allowed to take water into Nilton Santos Olympic Stadium despite soaring temperatures.

A group launched an online petition Saturday morning calling for a “Benevides Law” to “make water in events mandatory.”

The petition garnered more than 150,000 signatures in just a few hours. Federal authorities announced that free water would be made available at all future concerts.

In a handwritten note shared on her social media, Swift said she had a “shattered heart.”

“There’s very little information I have other than the fact that she was so incredibly beautiful and far too young,” the singer wrote of the young woman.

The show’s organizer, Time4Fun, said on Instagram that paramedics attended to Benevides after she reported feeling unwell. She was taken to a first-aid center and then to a hospital, where she died an hour later, the statement from the Brazilian live entertainment company said.

Concertgoers said they were not allowed to bring water bottles into the stadium even though Rio and most of Brazil have had record-breaking temperatures this week amid a dangerous and lasting heat wave. The daytime high in Rio on Friday was 39.1 degrees Celsius (102.4 degrees Fahrenheit), but it felt much hotter.

Elizabeth Morin, 26, who recently moved to Rio from Los Angeles, described “sauna-like” conditions inside the stadium.

“It was extremely hot. My hair got so wet from sweat as soon as I came in,” she said. “There was a point at which I had to check my breathing to make sure I wasn’t going to pass out.”

Morin said she drank plenty of water but saw “a good amount of people looking distressed” and others “yelling for water.” She said that she was able to get water from the sidelines of the area she was standing in, but that water was a lot harder to access from other parts of the stadium, “especially if you were concerned about losing your specific position.”

During the show, Swift paused her performance and asked from the stage for water to be brought to a group of people who had successfully caught the singer’s attention, according to Morin.

“They were holding up their phones saying ‘We need water,’” she recalled.

Justice Minister Flávio Dino said on X that the ministry would implement “emergency rules” in response to the situation. He later announced that “water bottles for personal use, in suitable material, will be allowed” at concerts and other events and that show producers must provide free and easily accessible drinking water.

Before the show, Benevides posted a video of herself on Instagram wearing a Taylor Swift T-shirt and waiting in line to enter the stadium while seeking shade under an umbrella. Like her, thousands of fans waited hours in the sun before being allowed inside.

She told her followers while fanning her face that she’d arrived at 11 a.m. — the show began around 7:30 p.m. — and was “still in the mess.”

Benevides’ friend, Daniele Menin, who attended the concert with her, told online news site G1 that her friend passed out at the beginning of the concert as Swift performed her second song, “Cruel Summer.”

“We always said that when [Taylor Swift] came to Brazil we would find a way to go. The ticket was very expensive, but we still found a way,” Menin told G1.

Rio de Janeiro Mayor Eduardo Paes said on X the “loss of a young woman’s life … is unacceptable.”

While authorities are investigating the circumstances of the death, Paes wrote, the municipality will demand Saturday that the show’s production company provide new water distribution points, more brigades and ambulances, and advance entrance to the show by one hour.

Swift has two more shows scheduled in Rio, one Saturday and one Sunday.

“I’m not going to be able to speak about this from stage because I feel overwhelmed by grief when I even try to talk about it,” she wrote. “I want to say now I feel this loss deeply and my broken heart goes out to her family and friends.” 
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A drawing of a nude Donald Trump. A punching bag sculpture shaped like a woman’s torso. A display of women’s party shoes standing proudly on prayer rugs. All are pieces of contemporary art that have provoked debate and, sometimes, violent reactions. 

These pieces and dozens more that were subjected to some sort of censorship have found a home in Spain at Barcelona’s Museum of Forbidden Art, or “Museu de l’Art Prohibit” in Catalan. The collection of over 200 works, including ones by well-known creators such as American photographer Robert Mapplethorpe and Spain’s own Pablo Picasso, is intended to challenge visitors and question the limits imposed on artists in an increasingly polarized world. 

Director Rosa Rodrigo said the museum is the only one in the world dedicated exclusively to art that faced petitions — often successful ones — for their removal from public view on moral, political, religious, sexual or commercial grounds. 

“The museum gives an opportunity to works of art that, for whatever reason, at some point had been banned, attacked, censored, or canceled, because there are so many,” Rodrigo told The Associated Press. 

The museum is the creation of Catalan art collector Tatxo Benet, who owns all but one of the 42 works currently on display — and the 200 more in storage. He was already collecting contemporary art when he began gathering “banned” works. 

Five years later, Benet’s idea became the Museum of Forbidden Art, which opened its doors in October. Since then, over 13,000 people have visited its galleries. 

Museum is “imperative”

As more works come under attack, people like art critic and curator Gabriel Luciani say the exhibit is essential. “I think it’s imperative to have a place like this in Europe and around the world. Especially in these moments of censorship that we’re seeing. Not only in the arts but also in other political contexts,” he said. 

In March, a Hong Kong department store took down a digital artwork that contained hidden references to jailed dissidents. The same month on the other side of the world, a Florida charter school principal was forced to resign after a parent complained about a lesson on Renaissance art that included Michelangelo’s David sculpture. 

Barcelona’s new museum features well-known works of contention, including “Piss Christ” by Andres Serrano, a photo of a crucifix plunged into a vat of the artist’s urine; as well as Mapplethorpe’s “X Portfolio,” photos of sadomasochism that were challenged in court for obscenity. 

“I think the collection could even be more shocking,” Luciani said. 

But the works by women, which have drawn ire from conservative religious groups or been repressed for their feminist content, are among the most powerful of the collection. 

“Silence,” an installation by French Algerian artist Zoulikha Bouabdellah that displays 30 pairs of stiletto heels on the same number of Islamic prayer rugs, dominates the center of a room. Bouabdellah agreed to have her work removed from a museum in Clichy, France, after the 2015 attacks in Paris against the staff of the Charlie Hebdo satirical newspaper, which had published cartoons of the Prophet Muhammad. 

Modern and classic

The physical abuse of women is captured by Kazakh artist Zoya Falkova in Evermust, a leather sculpture of a woman’s torso as a boxer’s punching bag. It was one of six works removed from a museum in Kyrgyzstan when an exhibition of feminist art came under fire from officials who said it went against traditional values. 

While most of the works are from the 21st century, Goya, Picasso and Klimt all have their place in the halls of the elegant modernist mansion that houses the museum. Goya had to sell his late-1790s “Los Caprichos” prints to the Spanish crown when he feared they could come under the scrutiny of the Inquisition, while Picasso saw his “Suite 347” of erotic drawings displayed in a private room in 1960s Paris. 

Although censorship has taken many forms, the museum shows that the drive to silence artists who make challenging works is alive and kicking. 

“Censorship in art has always existed because artists are always forerunners and touch on different themes,” Rodrigo said. “[But] it is true that most of the works on display are from the years 2010 to 2020. In those 10 years, in many different areas of the world, I think that societies themselves have undergone a regression of values, because it has not necessarily been governments which have acted [against artworks], but rather it has been society itself.” 

In 2016, the Australian artist Illma Gore posted her full-monty drawing of Trump on Facebook and had her account shut down for obscenity and nudity. Gore believes the piece led to her being assaulted on a Los Angeles street. 

Following a series of canceled shows after he was accused of making inappropriate sexual comments to potential models, the late American painter Chuck Close, a master of photorealism, has a self-portrait on display at the Museum of Forbidden Art. 

Hoping for no attacks

Commercial interests have also played a role in muzzling free expression. 

Yoshua Okón’s video of an obese woman lying nude on a table in McDonald’s, called “Freedom Fries,” was removed from a gallery in London after, according to the Barcelona museum, members of gallery’s board were worried about damaging the fast-food chain’s reputation. 

The museum also houses several works that have come under physical attack, including “Piss Christ.” 

Spanish artist Charo Corrales’ “With Flowers for Mary,” which depicts a Virgin Mary masturbating, was slashed while exhibited in southern Spain after Catholic legal groups filed a lawsuit against the work for offending religious sensibilities. It is now on display in Barcelona with an open gash in the canvas. 

Rodrigo said her museum hopes it won’t see any attacks because visitors should come prepared to be shocked. She also believes that by grouping these works, they produce a more balanced impact. Plus, she has faith that the spectator will show respect and restraint when granted the freedom to come in contact with provocative artwork. 

“We want our visitors to feel comfortable, not that they are in a fortress,” Rodrigo said, “because if we did that, we would be sending the wrong message.”
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Many of Malaysia’s urban communities are adding a rural touch. Community gardens are popping up as residents look for ways to bring the great outdoors closer to home. Dave Grunebaum has the story.
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British author A.S. Byatt, who wove history, myth and a sharp eye for human foibles into books that included the Booker Prize-winning novel Possession, has died at the age of 87.

Byatt’s publisher, Chatto & Windus, said Friday that the author, whose full name was Antonia Byatt, died “peacefully at home surrounded by close family” on Thursday.

Byatt wrote two dozen books, starting with her first novel, The Shadow of the Sun, in 1964. Her work was translated into 38 languages.

Possession, published in 1990, follows two young academics investigating the lives of a pair of imaginary Victorian poets. The novel, a double romance which skillfully layers a modern story with mock-Victorian letters and poems, was a huge bestseller and won the prestigious Booker Prize.

Accepting the prize, Byatt said Possession was about the joy of reading.

“My book was written on a kind of high about the pleasures of reading,” she said.

“Possession” was adapted into a 2002 film starring Gwyneth Paltrow and Aaron Eckhart. It was one of several Byatt books to get the film treatment. Morpho Eugenia, a gothic Victorian novella included in the 1992 book Angels and Insects, became a 1995 movie of the same name, starring Mark Rylance and Kristin Scott Thomas.

Her short story The Djinn in the Nightingale’s Eye, which won the 1995 Aga Khan Prize for Fiction, inspired the 2022 fantasy film Three Thousand Years of Longing. Directed by Mad Max filmmaker George Miller, it starred Idris Elba as a genie who spins tales for an academic played by Tilda Swinton.

Byatt’s other books include four novels set in 1950s and ’60s Britain that together are known as the Frederica Quartet: The Virgin in the Garden, published in 1978, followed by Still Life, Babel Tower and A Whistling Woman. She also wrote the 2009 Booker Prize finalist The Children’s Book, a sweeping story of Edwardian England centered on a writer of fairy tales.

Her most recent book was Medusa’s Ankles, a volume of short stories published in 2021.

Byatt’s literary agent, Zoe Waldie, said the author “held readers spellbound” with writing that was “multilayered, endlessly varied and deeply intellectual, threaded through with myths and metaphysics.”

Clara Farmer, Byatt’s publisher at Chatto & Windus — part of Penguin Random House — said the author’s books were “the most wonderful jewel-boxes of stories and ideas.”

“We mourn her loss, but it’s a comfort to know that her penetrating works will dazzle, shine and refract in the minds of readers for generations to come,” Farmer said.

Born Antonia Susan Drabble in Sheffield, northern England, in 1936 – her sister is novelist Margaret Drabble – Byatt grew up in a Quaker family, attended Cambridge University and worked for a time as a university lecturer.

She married economist Ian Byatt in 1959 and they had a daughter and a son before divorcing. In 1972, her 11-year-old son, Charles, was struck and killed by a car while walking home from school.

Charles died shortly after Byatt had taken a teaching post at University College London to pay for his private school fees. After his death, she told The Guardian in 2009, she stayed in the job “as long as he had lived, which was 11 years.” In 1983, she quit to become a full-time writer.

Byatt lived in London with her second husband, Peter Duffy, with whom she had two daughters.

Queen Elizabeth II made Byatt a dame, the female equivalent of a knight, in 1999 for services to literature, and in 2003 she was made a chevalier (knight) of France’s Order of Arts and Letters.

In 2014, a species of iridescent beetle was named for her — Euhylaeogena byattae Hespenheide — in honor of her depiction of naturalists in Morpho Eugenia.
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Tahir Hamut Izgil witnessed firsthand, China’s repressive treatment of the Uyghur ethnic minority group and experienced how society changed over time in Xinjiang, an autonomous region in northwest China. His memoir, published this year has gained attention by readers and recognition by two prominent U.S.  publications this week, while China describes accusations of repression as a false narrative.

Izgil’s memoir, Waiting to be Arrested at Night: A Uyghur Poet’s Memoir of China’s Genocide, has been listed as one of the “50 notable works of nonfiction,” by The Washington Post and as the “100 Must-Read Books of 2023,” by Time magazine.   

Now living in the U.S., Izgil, a Uyghur, was born in Kashgar in 1969 and lived through some of the most drastic changes in Xinjiang in the region’s modern history. While preparing to leave for Turkey to study in 1996, the Chinese government accused him of “trying to take illegal and confidential materials out of the country” and he was imprisoned for three years. He was able to establish a career in filmmaking after his confinement.   

In his book, Izgil wrote about people he knew disappearing and described what he did — fearing he would be next.   

“As the situation worsened, like many others, I spent hours ‘cleaning out’ my phone, just as I had cleaned out my computer three years earlier,” Izgil wrote in his book. “I deleted pictures, videos, audio records, and even chat records on QQ and WeChat one after another.”   In 2017, as the Chinese government intensified its crackdown on Uyghurs in Xinjiang, Izgil and his family managed to flee the region and seek asylum in the United States.   

China’s response

Beijing has repeatedly denied any wrongdoing in Xinjiang and dismissed genocide and crimes against humanity allegations as “lies and fabrications,” asserting that Xinjiang has achieved remarkable economic growth and social development in recent years.    

“People of all ethnic backgrounds in Xinjiang are entitled to the rights and interests under China’s Constitution and other laws,” wrote Liu Pengyu the spokesperson from the Chinese Embassy in Washington, in an email response to VOA’s inquiry.

“In recent years, China’s Foreign Ministry and the government of Xinjiang have held multiple press briefings for domestic and international media to learn more about real life in Xinjiang. Regrettably, however, a few people in some Western countries, including in the U.S., would rather buy into false narratives than acknowledge the truth and the real progress in Xinjiang,” wrote Liu.

Concerns of Chinese repression  

President Joe Biden “raised concerns regarding PRC (People’s Republic of China) human rights abuses, including in Xinjiang, Tibet, and Hong Kong,” during his meeting with Chinese leader Xi Jinping on the sidelines of the Asia-Pacific Economic Cooperation (APEC) meeting in San Francisco this week.  The U.S. has accused China of “genocide and human rights abuses” and called on China “to address forced labor in Xinjiang.”  

Last year, the U.N. Human Rights Office of the High Commissioner released a report which documented credible evidence of torture or other ill-treatment and sexual and gender-based violence against the Uyghurs. The report stated the violations may constitute crimes against humanity. 

The European Parliament also adopted a resolution in 2022 condemning “in the strongest possible terms the fact that the Uyghur community in the People’s Republic of China has been systematically oppressed by brutal measures, including mass deportation, political indoctrination, family separation…”    

Personal testimony and beyond    

“As the world takes notice of my storytelling, my memoir stands as a testament to the resilience of the Uyghur people amid the challenges posed by China’s genocide,” Izgil told VOA. 

He said he is preparing to write another book on his firsthand experience in a Chinese prison. 

“I am now writing the book because nowadays, when I attend book interviews and other gatherings on my book, a lot of readers mention that my years in a Chinese prison in the second half of the 1990s were largely absent in my book. Now I want to fill that gap and inform the world about Chinese prison life in the 1990s.”   

Izgil said his memoir is contracted to be translated into 15 languages.
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Leaders of the union representing Hollywood actors announced a tentative deal recently with film and television studios to end a strike that started in July. It includes pay raises, streaming bonuses for actors, and the industry’s first protections against the use of artificial intelligence. From Los Angeles, Genia Dulot has our story.
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Marvel Comics’ first Muslim superhero is making her big-screen debut in “The Marvels” movie. From Los Angeles, Genia Dulot brings us the story of the teenage Ms. Marvel.
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Designers in the Western U.S. state of Colorado are mixing modern fashion with cultural textiles from Iran, Afghanistan, Turkey and Tibet. VOA’s Scott Stearns has our story.
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Since 2008’s “Iron Man,” the Marvel machine has been one of the most unstoppable forces in box-office history. Now, though, that aura of invincibility is showing signs of wear and tear. The superhero factory hit a new low with the weekend launch of “The Marvels,” which opened with just $47 million, according to studio estimates Sunday.

The 33rd installment in the Marvel Cinematic Universe, a sequel to the 2019 Brie Larson-led “Captain Marvel,” managed less than a third of the $153.4 million its predecessor launched with before ultimately taking in $1.13 billion worldwide.

Sequels, especially in Marvel Land, aren’t supposed to fall off a cliff. Yet “The Marvels” debuted with more than $100 million less than “Captain Marvel” opened with — something no sequel before has ever done. David A. Gross, who runs the movie consulting firm Franchise Research Entertainment, called it “an unprecedented Marvel box-office collapse.”

The previous low for a Walt Disney Co.-owned Marvel movie was “Ant-Man,” which bowed with $57.2 million in 2015. Otherwise, you have to go outside the Disney MCU to find such a slow start for a Marvel movie — releases like Universal’s “The Incredible Hulk” with $55.4 million in 2008, Sony’s “Morbius” with $39 million in 2022 or 20th Century Fox’s “Fantastic Four” reboot with $25.6 million in 2015.

But “The Marvels” was a $200 million-plus sequel to a billion-dollar blockbuster. It was also an exceptional Marvel release in numerous ways. The film, directed by Nia DaCosta, was the first MCU release directed by a Black woman. It was also the rare Marvel movie led by three women — Larson, Teyonah Parris and Iman Vellani.

Reviews weren’t strong (62% fresh on Rotten Tomatoes) and neither was audience reaction. “The Marvels” is only the third MCU release to receive a “B” CinemaScore from moviegoers, following “Eternals” and “Ant-Man and the Wasp: Quantamania.”

“The Marvels,” which added $63.3 million in overseas ticket sales, may go down as a turning point in the MCU. Over the years, the franchise has collected $33 billion globally — a point Disney noted in reporting its grosses Sunday.

But with movie screens and streaming platforms increasingly crowded with superhero films and series, some analysts have detected a new fatigue setting in for audiences. Disney chief executive Bob Iger himself has spoken about possible oversaturation for Marvel.

“Over the last three and a half years, the growth of the genre has stopped,” Gross wrote in a newsletter Sunday.

Either way, something is shifting for superheroes. The box-office crown this year appears assured to go to “Barbie,” the year’s biggest smash with more than $1.4 billion worldwide for Warner Bros.

Marvel has still produced recent hits. “Guardians of the Galaxy Vol. 3” launched this summer with $118 million before ultimately raking in $845.6 million worldwide. Sony’s “Spider-Man: Across the Spider-Verse” earned $690.5 million globally and, after rave reviews, is widely expected to be an Oscar contender.

The actors strike also didn’t do “The Marvels” any favors. The cast of the film weren’t permitted to promote the film until the strike was called off late Wednesday evening when SAG-AFTRA and the studios reached agreement. Larson and company quickly jumped onto social media and made surprise appearances in theaters. And Larson guested on “The Tonight Show” on Friday.

The normally orderly pattern of MCU releases has also been disrupted by the strikes. After numerous strike-related delays, the only Marvel movie currently on the studio’s 2024 calendar is “Deadpool 3,” opening July 26.

Separately, after two weeks atop the box office, Universal Pictures’ “Five Nights at Freddy’s” slid to second place with $9 million in its third weekend of release. The Blumhouse-produced videogame adaptation has accumulated $127.2 million domestically.

Taylor Swift’s “The Eras Tour” concert film came in third with $5.9 million from 2,484 venues in its fifth weekend of release. The film, produced by Swift and distributed by AMC Theatres, has made $172.5 million domestically and $240.9 million worldwide.

Sofia Coppola’s “Priscilla” held strongly in its second weekend of wide release. The A24 film, starring Cailee Spaeny as Priscilla Presley and Jacob Elordi as Elvis, remained in fourth place with $4.8 million, dipping only 5% from the week prior.

Martin Scorsese’s “Killers of the Flower Moon,” an Apple Studios production being theatrically distributed by Paramount Pictures, took in $4.7 million on its fourth weekend, to bring its domestic haul to about $60 million. While quite low for a $200 million movie, “Killers of the Flower Moon” is primarily an awards-season statement by Apple of its growing moviemaking ambitions.

In its first weekend of expanded release, Alexander Payne’s acclaimed “The Holdovers,” starring Paul Giamatti as a curmudgeonly boarding-school instructor, launched with $3.2 million from 778 locations. The Focus Features release, an expected Oscar contender, will hope for strong legs as it plays through the fall.

“Journey to Bethlehem,” a release from Sony’s Christian subsidiary Affirm Films, debuted with $2.4 million in about 2,000 locations.

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

1. “The Marvels,” $47 million.

2. “Five Nights at Freddys,” $9 million.

3. “Taylor Swift: The Eras Tour,” $5.9 million.

4. “Priscilla,” $4.8 million.

5. “Killers of the Flower Moon,” $4.7 million.

6. “The Holdovers,” $3.2 million.

7. “Journey to Bethlehem,” $2.4 million.

8. “Tiger 3,” $2.3 million.

9. “Paw Patrol: The Mighty Movie,” $1.8 million.

10. “Radical,” $1.8 million.
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Millions of Indians celebrated Diwali on Sunday with a new Guinness World Record number of bright earthen oil lamps as concerns about air pollution soared in the South Asian country.

Across the country, dazzling multicolored lights decked homes and streets as devotees celebrated the annual Hindu festival of light symbolizing the victory of light over darkness.

But the spectacular and much-awaited massive lighting of the oil lamps took place — as usual —at Saryu River, in Ayodhya in Uttar Pradesh state, the birthplace of their most revered deity, the god Ram.

At dusk on Saturday, devotees lit over 2.22 million lamps and kept them burning for 45 minutes as Hindu religious hymns filled the air at the banks of the river, setting a new world Record. Last year, over 1.5 million earthen lamps were lit.

After counting the lamps, Guinness Book of World Records representatives presented a record certificate to the state’s top elected official Yogi Adityanath.

Over 24,000 volunteers, mostly college students, helped prepare for the new record, said Pratibha Goyal, vice chancellor of Dr. Ram Manohar Lohia Avadh University, in Ayodhya.

Diwali, a national holiday across India, is celebrated by socializing and exchanging gifts with family and friends. Many light earthen oil lamps or candles, and fireworks are set off as part of the celebrations. In the evening, a special prayer is dedicated to the Hindu goddess Lakshmi, who is believed to bring luck and prosperity.

Over the weekend, authorities ran extra trains to accommodate the huge numbers trying to reach their hometowns to join family celebrations. The festival came as worries about air quality in India rose. A “hazardous” 400-500 level was recorded on the air quality index last week, more than 10 times the global safety threshold, which can cause acute and chronic bronchitis and asthma attacks.

But on Saturday, unexpected rain and a strong wind improved the levels to 220, according to the government-run Central Pollution Control Board.

Air pollution levels are expected to soar again after the celebrations end Sunday night because of the fireworks used.

Last week, officials in New Delhi shut down primary schools and banned polluting vehicles and construction work in an attempt to reduce the worst haze and smog of the season, which has posed respiratory problems for people and enveloped monuments and high-rise buildings in and around India’s capital.

Authorities deployed water sprinklers and anti-smog guns to control the haze and many people used masks to escape the air pollution.

New Delhi tops the list almost every year among the many Indian cities with poor air quality, particularly in the winter, when the burning of crop residues in neighboring states coincides with cooler temperatures that trap deadly smoke.

Some Indian states have banned the sale of fireworks and imposed other restrictions to stem the pollution. Authorities have also urged residents to light “green crackers” that emit less pollutants than normal firecrackers. But similar bans have often been disregarded in the past.

The Diwali celebrations this year were marked as authorities prepared to inaugurate in January an under-construction and long-awaited temple of the Hindu god Ram at the site of a demolished 16th-century Babri mosque in Ayodhya city in Uttar Pradesh state.

The Babri Masjid mosque was destroyed by a Hindu mob with pickaxes and crowbars in December 1992, sparking massive Hindu-Muslim violence that left some 2,000 people dead, most of them Muslims. The Supreme Court’s verdict in 2019 allowed a temple to be built in place of the demolished mosque. 
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“Creole isn’t about a specific skin tone or country, it’s about a culture,” said Mona Lisa Saloy, author of the poetry collection Black Creole Chronicles. 

 

“It’s food, it’s music, it’s architecture, it’s style and it’s traditions,” she told VOA. “There are millions of Creole people in countries across the world and, still, we are all so much more alike than we are different. We create beautiful cultures everywhere we go, and I think that’s evident here in Louisiana.”

Linguists estimate as many as 10,000 people still speak the French-based language Louisiana Creole. Many more in New Orleans and across the state consider themselves part of a culture that draws tens of thousands of people to events including last month’s Festivals Acadiens et Creoles, summer’s Creole Tomato Festival, and spring’s Tremé Creole Gumbo & Congo Square Rhythms Festival.

But for many locals and visitors alike, it’s the everyday evidence that demonstrates how pervasive Creole culture really is in Louisiana. The state’s stages and airwaves are frequented by the driving, rhythmic scrape of a washboard virtuoso or by the up-tempo syncopation of zydeco music accompanying an accordionist. Its restaurants emanate mouthwatering scents from rich, complex flavors including gumbo, hot sausage, red beans and rice, and shrimp étouffée.

“To celebrate Creole culture is to wake up and live in New Orleans,” said Christina Bragg, a member of the Mahogany Blue Babydolls, a parading group for Black and mixed-race women.

“Celebrating ‘Creole’ is celebrating our day-to-day lives. The food we eat. The music we dance to. The way we gather with friends to parade during Mardi Gras,” she said. “Every day I open my eyes and breathe, it’s a celebration of Creole culture, because that’s who I am.”

Difficult to define

“No matter where in the world you find Creole culture, you’ll see key similarities to what we have here in Louisiana,” said Saloy, who was Louisiana’s poet laureate from 2021 to 2023.

“Architectural styles common in New Orleans like the Creole Cottage or the Shotgun home can be found in other places with Creoles, such as in other parts of the American South and the Caribbean,” she said. “Much of our music derives from the rhythms of Africa and the Caribbean, as does much of our food — elements of gumbo such as the long rice and okra, for example, or the prevalence of beans.”

While certain elements of Creole culture bridge oceans, how one defines the word “Creole” — and specifically the inclusivity of that definition — changes from region to region, and even from person to person.

It comes from the Portuguese word crioulo, which itself derives from the Latin creare, meaning “to create.” It was used during the European slave trade to denote a slave born in the New World as opposed to someone born in Africa. The word then took on different meanings in different places. Creole cultures in much of Africa and part of the Caribbean, for example, came to define an ethnic group made of people with a mix of African and non-African heritage.

In Louisiana, the definition has shifted over the years, and among households.

“Here, the definition kind of depends on who you ask,” said Vance Vaucresson, a New Orleans-based Creole and owner of a local restaurant, the Vaucresson Sausage Company.

“I prefer an inclusive definition,” he said. “By that definition, anyone born in Louisiana could be Creole. During our colonial era, it was meant to differentiate people born in the Americas — usually of French, Spanish or African descent — from those born in Europe or Africa who now found themselves here.

“I like that better than the other definition,” he added, “which says that Creole people in Louisiana are specifically related to the ‘free people of color.’ I like the more inclusive definition better because it unifies us by culture. Black, white or mixed race, it doesn’t matter. If you’re born here and embrace the culture, you can be Creole.”

 

An evolving term

In 18th- and 19th-century Louisiana, that more inclusive definition was the most accepted. White people with recent European ancestry were just as likely to call themselves Creole as mixed-race residents with African ancestry.

White Creoles claimed the term because it differentiated them from white people who were coming from Northern states after Louisiana was purchased from France in 1803. Mixed-race Creoles, too, claimed the term because it differentiated them from slaves.

“Slavery was so entrenched in the United States, Louisiana included, so I think free people of color or mixed-race people were happy to have a term that raised their social standing,” said Don Vappie, a Creole jazz musician in New Orleans. “It was more of a three-tier racial hierarchy here, instead of the two-tiered Black-or-white experienced elsewhere in the U.S.”

After the American Civil War, however, much of that racial nuance in New Orleans disappeared.

“Creole or not, white people had more in common with white people and Black people had more in common with Black people,” Vappie told VOA. “And white people didn’t want to use a term for themselves that was claimed by anyone who was Black.”

As a result, it’s rare to find a white person in Louisiana today who identifies as Creole.

“Nowadays, it’s definitely more of a Black person thing,” said Bragg of the Mahogany Blue Babydolls. “But there’s still so much diversity in Creole culture. You have Creoles with very dark skin, Creoles who basically look white, Creoles with Black features, Creoles with lighter brown skin and green eyes. It’s people who have been from the region for a long time, and it’s a unique thing.”

And while French Creole is spoken less frequently as older generations pass, there are still many Louisianians who are proudly Creole and want to see its traditions survive.

“I want to see more people learn about Creole culture, no matter what their skin color is,” Vaucresson said. “New Orleans has Irish Creoles, Italian Creoles, African Creoles, French and Spanish Creoles, and more. And they all have their different versions of food. At my restaurant, we try to keep those old Creole dishes on the menu so our past never disappears.”

Saloy believes Creole is firmly connected to African culture and should stay that way.

“The ingredients in our food, the rhythm in our music and dance, the details in our architecture — it’s all connected to West African culture,” she said. “And when those Africans were taken from their lands and shipped across an ocean, even though they were enslaved, they managed to make something beautiful again. That’s our heritage.

“For years, white people didn’t want to have anything to do with Creole,” she added. “So I don’t think they should be able to claim it now that it’s become in vogue.”
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Pope Francis on Saturday forcibly removed from office the bishop of Tyler, Texas, a conservative active on social media who has been a fierce critic of the pontiff and some of his priorities.

A one-line statement from the Vatican said Francis had “relieved” Bishop Joseph Strickland of the pastoral governance of Tyler and appointed the bishop of Austin as the temporary administrator.

Strickland, 65, has emerged as a critic of Francis, accusing him in a tweet earlier this year of “undermining the deposit of faith.” He has been particularly critical of Francis’ recent meeting on the future of the Catholic Church during which hot-button issues were discussed, including ways to better welcome LGBTQ+ Catholics.

The Vatican earlier this year sent in investigators to investigate his governance of the diocese, amid reports he was making doctrinally unorthodox claims.

The Vatican has not released the findings of the investigation, and Strickland had insisted he wouldn’t resign voluntarily. He had said in media interviews that he was given a mandate to serve by the late Pope Benedict XVI and couldn’t abdicate that responsibility, and he had complained that he hadn’t been told what the pope’s investigators were looking into.

It is rare for the pope to forcibly remove a bishop from office. Bishops are required to offer to resign when they reach 75. When the Vatican uncovers issues with governance or other problems that require a bishop to leave office before then, the Vatican usually seeks to pressure him to resign for the good of his diocese and the church.

That was the case when another U.S. bishop was forced out earlier this year following a Vatican investigation. Knoxville, Tennessee, Bishop Richard Stika resigned voluntarily, albeit under pressure, following allegations he mishandled sex abuse allegations and his priests complained about his leadership and behavior.

But with Strickland, the Vatican statement made clear that he had not offered to resign, and that Francis had instead “relieved” him of his job.

Most recently, Strickland had criticized Francis’ monthlong closed-door debate on making the church more welcoming and responsive to the needs of Catholics today. The meeting debated a host of previously taboo issues, including women in governance roles and welcoming LGBTQ+ Catholics, but in the end, its final document didn’t veer from established doctrine.

Ahead of the meeting, Strickland said it was a “travesty” that such things were even on the table for discussion.

”Regrettably, it may be that some will label as schismatics those who disagree with the changes being proposed,” Strickland wrote in a public letter in August. “Instead, those who would propose changes to that which cannot be changed seek to commandeer Christ’s Church, and they are indeed the true schismatics.”

There was no immediate comment from the diocese, and the U.S. Conference of Catholic Bishops merely posted an English translation of the Vatican statement with data about the size of the diocese.

In a social media post sent a few hours before the Vatican’s noon announcement, Strickland wrote a prayer about Christ being the “way, the truth and the life, yesterday, today and forever.”
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Board members from Hollywood’s actors union voted Friday to approve the deal with studios that ended their strike after nearly four months, with the union’s leadership touting the gains made in weeks of methodical negotiations.

Duncan Crabtree-Ireland, Screen Actors Guild-American Federation of Television and Radio Artists’ executive director and chief negotiator, announced at a Friday news conference that the tentative agreement was approved with 86% of the vote.

The three-year contract agreement next goes to a vote from the union’s members, who are now learning what they earned through spending the summer and early fall on picket lines instead of on film and television sets. That vote begins Tuesday and continues into December.

Crabtree-Ireland said the deal “will keep the motion picture industry sustainable as a profession for working-class performers.”

SAG-AFTRA President Fran Drescher said the studios believed they could outlast actors by waiting more than two months before initiating talks.

“What were they doing? Were they trying to smoke us out?” she said. “Well honey, I quit smoking a long time ago.”

Crabtree-Ireland and Drescher would not give specifics on who disapproved of the deal, and why. The board vote was weighted, so it’s not immediately clear how many people voted against approval.

Overall, the happy scene at SAG-AFTRA’s Los Angeles headquarters was as different as can be from the defiant, angry tone of a news conference in the same room in July, when guild leaders announced that actors would join writers in a historic strike that shook the industry.

The successful vote by the board, whose members include actors Billy Porter, Jennifer Beals, Sean Astin and Sharon Stone, was expected, as many of the same people were on the committee that negotiated the deal. And it was in some ways drained of its drama by union leaders declaring the strike over as soon as the tentative deal was reached with the Alliance of Motion Picture and Television Producers on Wednesday, rather than waiting for the approval.

But it was still an essential step in returning to business as usual in Hollywood, if there is any such thing.

Actors need not wait for the ratification to start acting again — “in fact some of them already have,” Crabtree-Ireland said.

Contract provisions surrounding the control of artificial intelligence were among the last sticking points in the agreement.

“AI was a dealbreaker,” Drescher said. “If we didn’t get that package, then what are we doing to protect our members?”
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The Beatles returned to the top of the U.K. music charts Friday with the record-breaking track “Now And Then,” making history as the act with the longest gap between its first and last No. 1 single. 

Billed as the last Beatles song, “Now And Then” features the voice of the late John Lennon and was developed using artificial intelligence. It also features parts recorded by surviving members Paul McCartney and Ringo Starr as well as the late George Harrison. 

The group’s 18th U.K. No. 1 hit, it brings the Beatles back to the top of the Official Singles Chart 60 years after the group’s first No. 1 single, “From Me to You.” The feat also extends the Beatles’ record as the British act with the most U.K. No. 1 singles in Official Charts history. 

“It’s mind-boggling. It’s blown my socks off,” McCartney said in a statement. “It’s also a very emotional moment for me. I love it!” 

The song is the fastest-selling single of the year to date in Britain with 48,600 physical and download sales based on its first seven days, the Official Charts Company said. 

It is also the fastest-selling vinyl single of the century so far in Britain with more than 19,400 copies sold on vinyl, and the most-streamed Beatles track in one week, with 5.03 million streams, it added. 

The group is also the act with the longest gap between No. 1 singles — 54 years — and the oldest band to score a U.K. No. 1 single, the Official Charts Company said. McCartney is 81 while Starr is 83.  

“Beatlemania has returned this week,” Official Charts Company Chief Executive Officer Martin Talbot said. 

“The return of John, Paul, George and Ringo with the last ever Beatles single … has cemented their legend by breaking a catalog of records — and in doing so underlined the extraordinary scope of their enduring appeal, across all the generations.” 
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An exhibition featuring the work of Simone Leigh — one of America’s most influential contemporary female artists — is now on display at the Hirshhorn Museum in Washington. Leigh, known for her focus on feminism, gender equality and racial justice, became the first Black artist in history to represent the U.S. at the Venice Biennale in 2022, where she was awarded the coveted Golden Lion. Maxim Adams has the story. Camera: Sergii Dogotar.
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One of Pablo Picasso’s masterpieces, Woman with a Watch, was sold at auction Wednesday night for $139.3 million by Sotheby’s in New York, the second-highest price ever achieved for the artist.

In a jam-packed room at the venerable auction house, it only took a few minutes of telephone bidding for the 1932 painting depicting one of the Spanish artist’s companions and muses, the French painter Marie-Therese Walter, to be sold.

Femme a la montre had been valued at over $120 million before going on the block, according to Sotheby’s.

It was part of the house’s special sale this week of the collection of New York arts patron Emily Fisher Landau, who died this year at age 102.

Julian Dawes, Sotheby’s head of impressionist and modern art, called the Picasso canvas — which hung in Landau’s living room — “a masterpiece by every measure.”

“Painted in 1932 — Picasso’s ‘annus mirabilis’ — it is full of joyful, passionate abandon yet at the same time it is utterly considered and resolved,” he said.

Walter was regarded as Picasso’s “golden muse,” and features in another of his works going under the hammer on Thursday at Christie’s: Femme endormie, or Sleeping Woman, estimated to sell for $25 million-$35 million.

She also featured in Femme assise pres d’une fenetre (Marie-Therese), or Woman Sitting Near a Window, which was sold in 2021 for $103.4 million.

Walter met Picasso in Paris in 1927, when she was just 17 and the Spanish artist was still married to Russian-Ukrainian ballet dancer Olga Khokhlova. The couple had a daughter, who died last year.

Another Picasso from 1932 was sold for $106 million in 2010.

The record sale for one of his works was of The Women of Algiers (Version O), a 1955 oil painting which sold for $179.4 million.

When it went under the hammer at Christie’s New York in 2015, it was also the record for any work of art sold at auction.

It was dethroned in November 2017 by the sale of Salvator Mundi attributed to Leonardo da Vinci, which went for $450 million and holds the record to this day.

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Fifty years after his death in 1973 at age 91, Picasso remains one of the most influential artists of the modern world, often hailed as a dynamic and creative genius.

But following the #MeToo movement against sexual harassment and assault, his reputation has been tarnished by accusations he exerted a violent hold over the women who shared his life and inspired his art.

Sotheby’s has already netted $406 million in sales from Landau’s collection, which also includes works by Jasper Johns, Willem de Kooning, Mark Rothko and Andy Warhol.

Flags by the 93-year-old Johns sold for $41 million, while Securing the Last Letter (Boss) by painter and photographer Ed Ruscha sold for $39.4 million.

Auction houses are enjoying a healthy art and luxury goods market, driven by China and showing no signs of a slowdown, said Kelsey Reed Leonard, head of contemporary art sales at Sotheby’s.

Against a backdrop of wars in Ukraine and Gaza, as well as worldwide inflation, the two titans of the sector — Sotheby’s and Christie’s — will be moving a host of big-ticket lots in the autumn sales, though they may still have a hard time topping last year, when total sales hit a record $16 billion.
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The SAG-AFTRA actors’ union reached a tentative agreement with Hollywood studios to resolve the second of two strikes that rocked the entertainment industry as workers demanded higher pay in the streaming TV era, the union said Wednesday.

The 118-day strike will end officially just after midnight, SAG-AFTRA said in a statement. The group’s national board will consider the deal on Friday, and the union said it would release further details after that meeting.

Members of SAG-AFTRA walked off the job in mid-July asking for an increase in minimum salaries, a share of streaming service revenue and protection from being replaced by “digital replicas” generated by artificial intelligence (AI).

The union said negotiators had reached a preliminary deal on a new contract with the Alliance of Motion Picture and Television Producers (AMPTP), which represents Walt Disney DIS.N, Netflix NFLX.O and other media companies.

An AMPTP representative did not immediately respond to a request for comment.

The breakthrough means Hollywood can ramp up to full production for the first time since May, once union members vote to ratify the deal in the coming weeks.

“I’m relieved,” actor Fanny Grande said in an interview. “It’s been really difficult for most people in the industry, especially people of color. As it is, we don’t have as many opportunities. We aren’t big celebrities that have money in the bank for months. I just really hope that it’s a fair deal.”

Actors had similar concerns to film and television writers, who argued that compensation for working-class cast members had dwindled as streaming took hold, making it hard to earn a living wage in cities such as Los Angeles and New York. TV series on streaming did not offer the same residual payments that actors enjoyed during the heyday of broadcast TV.

Performers also became alarmed by recent advances in artificial intelligence, which they feared could lead to studios manipulating their likenesses without permission or replacing human actors with digital images.

George Clooney and other A-list stars voiced solidarity with lower-level actors and had urged union leadership, including SAG-AFTRA President and The Nanny actor Fran Drescher, to reach a resolution.

Many film and TV sets shut down when the Writers Guild of America (WGA) called a strike in the spring. While WGA members returned to writing scripts in late September, the ongoing SAG-AFTRA work stoppage left many productions dark.

The disruptions cost California more than $6 billion in lost output, according to a Milken Institute estimate.

With little work available, many prop masters, costume designers and other crew members struggled to make ends meet. FilmLA, the group that approves filming permits, reported scripted production during the week of Oct. 29 had fallen 77% from the same time a year earlier.

The Hollywood strikes came during a year of other high-profile job actions. The United Auto Workers recently ended six weeks of walkouts at Detroit carmakers. Teachers, nurses and healthcare workers also walked off the job.

Hollywood’s work stoppages forced broadcast networks to fill their fall lineups with re-runs, games shows and reality shows. It also led movie studios to delay big releases such as Dune: Part 2 because striking actors could not promote them.

Other major films, including the latest installment of the Mission: Impossible franchise and Disney’s live-action remake of animated classic Snow White, were postponed until 2025.
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