Los Angeles — It’s a three-peat for “Beetlejuice Beetlejuice.”

The Tim Burton legacy sequel to his 1988 horror comedy topped the North American box office charts for the third straight weekend with $26 million in ticket sales, according to studio estimates Sunday.

It edged out the animated new release “Transformers: One,” which brought in $25 million. The Optimus Prime origin story from Paramount Pictures features the voices of Chris Hemsworth, Brian Tyree Henry and Scarlett Johansson.

“Beetlejuice Beetlejuice,” a Warner Bros. release with Michael Keaton and Winona Ryder returning as stars, has earned more than $226 million domestically in its three weeks after a monster opening of $110 million — the third best of the year — and a second weekend of $51.6 million.

Third place went to the James McAvoy horror “Speak No Evil,” which came in at $5.9 million in its second week for a total of $21.5 million.

On the whole, the box office was in a quiet phase that is expected to break when ” Joker: Folie à Deux ” dances its way onto the big screen on Oct. 4.

The year’s second-highest grosser ” Deadpool & Wolverine ” remained in the top 5 in its ninth weekend with another $3.9 million and a domestic total of $627 million. Only Pixar’s “Inside Out 2” has earned more.

The Demi Moore-starring, Coralie Fargeat-directed body horror “The Substance,” which made a splash at the Cannes Film Festival, brought in $3.1 million on limited screens in its first weekend for the sixth spot.

The Daily Wire movie “Am I Racist?” — in which conservative columnist Matt Walsh goes undercover as a “DEI trainee” — stayed in the top 10 after a fourth place finish last week, earning $2.9 million for seventh place and a two-week total of $9 million.

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

1. “Beetlejuice Beetlejuice,” $26 million.

2. “Transformers One,” $25 million.

3. “Speak No Evil,” $5.9 million.

4. “Never Let Go,” $4.5 million.

5. “Deadpool & Wolverine,” $3.9 million.

6. “The Substance,” $3.1 million.

7. “Am I Racist?” $2.5 million.

8. “Reagan,” $1.7 million.

9. “JUNG KOOK: I AM STILL,” $1.4 million.

10. “Alien Romulus,” $1.3 million.
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SANBAGAWA, Japan — Benmou Suzuki’s dilapidated 420-year-old temple, located deep in the forest near a tiny Japanese mountain village, hardly looks like prized real estate.

Yet the monk was recently approached by two men, who said they were real estate brokers and wanted to know if he was interested in selling.

He suspects they weren’t really interested in the ornate building at the trailhead of a sacred mountain, but the special tax status that comes with running a religious property.

“There are people out there who want a temple, even a mountain temple like this. In fact, considering the value of the religious corporation status, this temple could fetch quite a lot of money,” said 52-year-old Suzuki.

As Japan’s population falls and interest in religion declines, there are fewer people to contribute to the upkeep of the country’s numerous temples and shrines. Suzuki’s Mikaboyama temple, for example, is located in Sanbagawa — an area a three-hour drive from Tokyo with only 500 residents and which also has three other Buddhist temples, one Shinto shrine and a church.

A surge in religious properties coming up for sale has Japanese authorities worried that prospective buyers are not interested in them for heavenly purposes. Rather they fear many are out to dodge taxes or possibly even launder money.

“It’s already a sense of crisis for us and the religious community,” said an official at Japan’s Agency for Cultural Affairs, which oversees religious sites.

Cases of temple or shrine properties being extensively repurposed have triggered public outrage. In Osaka, a temple sold in 2020 was later razed and dozens of graves were relocated to make way for a property development. In Kyoto, a case about a temple that was demolished and turned into a parking lot made headlines this year.

Owning a temple, shrine or church recognized as a religious corporation in Japan can confer sizeable tax benefits. Businesses under such corporations that offer religious services such as funerals do not have to pay taxes while other non-religious businesses also enjoy preferential tax rates. A wide range of undertakings are allowed from restaurants to hair salons to hotels.

Japan had about 180,000 religious sites with corporation status as end-2023, according to the agency’s data. The number of so-called inactive corporations — such as those with no religious events for more than a year — jumped by a third to more than 4,400.

When monks or priests die without a successor, the overseeing religious group will usually appoint someone to take over or voluntarily relinquish the site’s corporation status.

However, there are around 7,000 religious sites that operate independently of these groups and are considered easy to acquire, according to the agency and specialist brokers.

The cultural affairs agency said it has stepped up efforts to dissolve the corporation status of inactive religious sites to stop them from being targeted by dubious buyers.

And when big earthquakes hit, often damaging temples and shrines, agency officials visit religious groups in those areas, warning them about falling prey to such buyers.

Last year, 17 religious corporations were voluntarily dissolved and six were ordered to dissolve. The agency said the number would increase this year and next year as it ratchets up scrutiny.

It might seem easier for Japan to change its laws to more strictly control the criteria for purchasing religious sites. But the agency said the government is wary about amending laws related to religion as that could be seen as impinging on religious freedom which is guaranteed by Japan’s constitution.

Reuters checks of six websites specializing in brokering the sale of religious properties showed hundreds on the market. Most are only obliquely described online with brokers saying sellers prefer to conduct sales as privately as possible.

Osaka-based broker Takao Yamamoto told Reuters interest is surging. A religious corporation license alone can fetch 30 million yen ($210,000), he adds. Some religious sites, especially those with profitable graveyards, are advertised for millions of dollars.

“Anyone can buy independent sites as long as you have money…even foreigners can buy them. Recently, a lot of Chinese people are trying to buy them,” Yamamoto said.

For his part, Suzuki says he has no intention to sell Mikaboyama temple and is working on ideas to raise funds to maintain it. “Temples are places for local people to gather and forge connections. We just can’t get rid of them,” he said. 
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KAWARAMACHI, Japan — Time seems to stop here. 

Women sit in a small circle, quietly, painstakingly stitching patterns on balls the size of an orange, a stitch at a time. 

At the center of the circle is Eiko Araki, a master of the Sanuki Kagari Temari, a Japanese traditional craft passed down for more than 1,000 years on the southwestern island of Shikoku. 

Each ball — known as a “temari” ball — is a work of art, with colorful geometric patterns carrying poetic names like “firefly flowers” and “layered stars.” A temari ball takes weeks or months to finish. Some cost hundreds of dollars (tens of thousands of yen), although others are much cheaper. 

These kaleidoscopic balls aren’t for throwing or kicking around. They’re destined to be heirlooms, carrying prayers for health and goodness. They might be treasured like a painting or piece of sculpture in a Western home. 

The concept behind temari is an elegant otherworldliness, an impractical beauty that is also very labor-intensive to create. 

“Out of nothing, something this beautiful is born, bringing joy,” said Araki. “I want it to be remembered there are beautiful things in this world that can only be made by hand.” 

Natural materials 

The region where temari originated was good for growing cotton, warm with little rainfall, and the spherical creations continue to be made out of the humble material. 

At Araki’s studio, which also serves as head office for temari’s preservation society, there are 140 hues of cotton thread, including delicate pinks and blues, as well as more vivid colors and all the subtle gradations in between. 

The women dye them by hand, using plants, flowers and other natural ingredients, including cochineal, which is a bug living in cacti that produces a red dye. The deeper shade of indigo is dyed again and again to turn just about black. Yellow and blue are combined to form gorgeous greens. Soy juice is added to deepen the tints, a dash of organic protein. 

Outside the studio, loops of cotton thread, in various tones of yellow today, hang outside in the shade to dry. 

Creating and embroidering the balls 

The arduous process starts with making the basic ball mold on which the stitching is done. Rice husks that are cooked then dried are placed in a piece of cotton, then wound with thread, over and over, until, almost magically, a ball appears in your hands. 

Then the stitching begins. 

The balls are surprisingly hard, so each stitch requires a concentrated, almost painful, push. The motifs must be precise and even. 

Each ball has lines to guide the stitching — one that goes around it like the equator, and others that zigzag to the top and bottom. 

Appealing to a new generation 

These days, temari is getting some new recognition, among Japanese and foreigners as well. Caroline Kennedy took lessons in the ball-making when she was United States ambassador to Japan a decade ago. 

Yoshie Nakamura, who promotes Japanese handcrafted art in her duty-free shop at Tokyo’s Haneda airport, says she features temari there because of its intricate and delicate designs. 

“Temari that might have been everyday in a faraway era is now being used for interior decoration,” she said. 

“I really feel each Sanuki Kagari Temari speaks of a special, one-and-only existence in the world.” 

Araki has come up with newer designs that feel both modern and historical. She is trying to make the balls more accessible to everyday life — for instance, as Christmas tree ornaments. A strap with a dangling miniature ball, though quite hard to make because of its size, is affordable at about 1,500 yen ($10) each. 

Another of Araki’s inventions is a cluster of pastel balls that opens and closes with tiny magnets. Fill it with sweet-smelling herbs for a kind of aromatic diffuser. 

A tradition passed down through generations 

Araki, a graceful woman who talks very slowly, her head cocked to one side as though always in thought, often travels to Tokyo to teach. But mostly she works and gives lessons in her studio, an abandoned kindergarten with faded blue paint and big windows with tired wooden frames. 

She started out as a metalwork artist. Her husband’s parents were temari masters who worked hard to resurrect the artform when it was declining in the modern age, at risk of dying out. 

They were stoic people, rarely bestowing praise and instead always scolding her, she remembers. It’s a tough-love approach that’s common in the handing down of many Japanese traditional arts, from Kabuki acting to hogaku music, that demand lifetimes of selfless devotion. 

Today, only several dozen people, all women, can make the temari balls to traditional standards. 

“The most challenging aspect is nurturing successors. It typically takes over 10 years to train them, so you need people who are willing to continue the craft for a very long time,” Araki said. 

“When people start to feel joy along with the hardship that comes with making temari, they tend to keep going.” 
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PHNOM PENH, CAMBODIA — Nhem Liza made her first visit to the National Museum of Cambodia after learning about the August return from the United States of dozens of looted Cambodian artifacts, including important Hindu and Buddhist masterpieces dating from the ninth to 14th centuries.

“Those artifacts are amazing,” said 15-year-old Nhem, a 10th grade Phnom Penh high school student.

The return of the statues — viewed as divine or containing the souls of ancestors — has given younger Cambodians like Nhem an opportunity to embrace the country’s cultural heritage and history.

“I am excited to see these artifacts our government is trying to get back,” she told VOA on September 16 after viewing some of objects now on display at the museum.

Cambodia has worked for years to identify and secure the return of culturally and historically important relics from private collections and museums overseas, many of which were lost to the country because of war, theft and the illegal artifact trade.

Cambodia faced continuous civil unrest from the mid-1960s until the early 1990s and archeological sites from the ancient Khmer Empire, such as Angkor Wat and Koh Ker, suffered serious damage and widespread looting, Cambodian officials told VOA Khmer.

In August, Cambodia celebrated the return of 70 items from museums and private collections overseas, including 14 from the Metropolitan Museum of Art in New York. The objects include priceless stone statues such as one depicting a mythical warrior from the Hindu epic Mahabharata. There are also statues of Hindu deities Shiva and Parvati, and one of the Hindu god Ardhanarishvara from the ancient capital of Koh Ker, according to Ministry of Culture and Fine Arts.

Presiding over the return ceremony, Prime Minister Hun Manet said the 70 returned objects symbolically reunited the Cambodian people with their “ancestral souls,” adding that the government will continue working to bring more artifacts home.

From 1996 to July of this year, 1,098 artifacts had been returned to Cambodia — 571 from private collections and 527 from foreign institutions and governments, Hun said.

“It is the soul of our nation,” Doeun Sokun Aly, 18, told VOA at the museum. “The heroes of our country built those artifacts for the younger generation to know about those antiques. … I will visit museums more to see more artifacts.”

National Museum Director Chhay Visoth told VOA the display is meant to stir new interest from Cambodians, especially younger Cambodians.

“Recently, we have seen a surprising increase of Cambodian visitors to the museum, especially youth,” he said by phone this week.

The authorities, he said, are now planning to conduct a “mobile exhibition” to display the artifacts at museums in provinces such as Siem Reap, Battambang and Pursat, in the northwestern part of the country.

Chhay said the museum also hopes the display will send a message to private collectors and museums overseas that “those artifacts are greatly important” and “not for beautifying gardens, kitchens, living rooms, residents or offices of the rich.”

“For Cambodians, they are meaningful indeed. Those artifacts are the souls of Khmer ancestors,” he said.

Chhay added that the museum is already planning to expand its display area to accommodate more returned artifacts.

Over the years, Cambodia has received dozens of statues from the families of wealthy collectors, such as George Lindemann, a U.S. businessman and philanthropist who died in 2018.

In 2021, after three years of negotiations, the family of the late British art collector Douglas Latchford agreed to return more than 100 Cambodian artifacts, according to the government.

Latchford, who co-authored three books on Cambodian art and antiques, died in 2020 facing accusations that he had illegally trafficked the artifacts to his homes in Bangkok and London.

In November 2019, federal prosecutors in New York charged Latchford with falsifying the provenance, invoices and shipping documents to transport valuable Khmer-era relics to private collections, museums and auction houses around the world.

Other cultural objects that have found their way back to Cambodia went through processes including voluntary returns, negotiations, seizures and legal proceedings.

The United States has helped secure the return of well over 150 antiques to Cambodia so far, Wesley Holzer, a U.S. Embassy spokesperson in Phnom Penh said.

“The United States is proud of its longstanding contributions to preserving and restoring Cambodia’s cultural heritage,” he told VOA in an email, adding that Cambodia is the first country in Southeast Asia to establish a bilateral property repatriation memorandum of understanding with the U.S.

“Through this MOU, the United States and Cambodia have trained heritage professionals, prevented pillaging of antiquities, and facilitated the return of looted artifacts. This agreement also makes it illegal to import certain Cambodian archeological and ethnological material into the United States,” he added.

Bradley Gordon, a lawyer representing Cambodian government, said there were “many more” that his team are searching for.

“To be clear, Cambodia does not want to empty out museums around the world, but wants many important and precious national treasures to come home.   Cambodia also is open to long-term loans which they are exploring with a number of museums,” he added.

A member of Gordon’s restitution team, Cambodian researcher Kunthea Chhoun, said getting the artifacts back is not easy.

“We need to investigate and collect testimonies from looters, villagers and brokers.  It takes a great amount of patience and many interviews.   We have used different approaches to get back our artifacts and it has taken many years,” she told VOA in a September 20 email. 
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KARACHI, Pakistan — Stained glass windows, a sweeping staircase and embellished interiors make Mohatta Palace a gem in Karachi, a Pakistani megacity of 20 million people. Peacocks roam the lawn and the sounds of construction and traffic melt away as visitors enter the grounds.

The pink stone balustrades, domes and parapets look like they’ve been plucked from the northern Indian state of Rajasthan, a relic of a time when Muslims and Hindus lived side by side in the port city.

But magnificence is no guarantee of survival in a city where land is scarce and development is rampant. Demolition, encroachment, neglect, piecemeal conservation laws and vandalism are eroding signs of Karachi’s past.

The building’s trustees have fended off an attempt to turn it into a dental college, but there’s still a decadeslong lawsuit in which heirs of a former owner are trying to take control of the land. It sat empty for almost two decades before formally opening as a museum in 1999.

The palace sits on prime real estate in the desirable neighborhood of Old Clifton, among mansions, businesses and upmarket restaurants.

The land under buildings like the Mohatta Palace is widely coveted, said palace lawyer Faisal Siddiqi. “It shows that greed is more important than heritage.”

Karachi’s population grows by around 2% every year and with dozens of communities and cultures competing for space there’s little effort to protect the city’s historic sites.

For most Pakistanis, the palace is the closest they’ll get to the architectural splendor of India’s Rajasthan, because travel restrictions and hostile bureaucracies largely keep people in either country from crossing the border for leisure, study or work.

Karachi’s multicultural past makes it harder to find champions for preservation than in a city like Lahore, with its strong connection to the Muslim-dominated Mughal Empire, said Heba Hashmi, a heritage manager and maritime archaeologist.

“The scale of organic local community support needed to prioritize government investment in the preservation effort is nearly impossible to garner in a city as socially fragmented as Karachi,” she said. 

Mohatta Palace is a symbol of that diversity. Hindu entrepreneur Shivratan Mohatta had it built in the 1920s because he wanted a coastal residence for his ailing wife to benefit from the Arabian Sea breeze. Hundreds of donkey carts carried the distinctively colored pink stone from Jodhpur, now across the border in India.

He left after partition in 1947, when India and Pakistan were carved from the former British Empire as independent nations, and for a time the palace was occupied by the Foreign Ministry.

Next, it passed into the hands of Pakistani political royalty as the home of Fatima Jinnah, the younger sister of Pakistan’s first leader and a powerful politician in her own right.

After her death, the authorities gave the building to her sister Shirin, but Shirin’s passing in 1980 sparked a court fight between people saying they were her relatives, and a court ordered the building sealed.

The darkened and empty palace, with its overgrown gardens and padlocked gates, caught people’s imagination. Rumors spread of spirits and supernatural happenings.

Someone who heard the stories as a young girl was Nasreen Askari, now the museum’s director.

“As a child I used to rush past,” she said. “I was told it was a bhoot (ghost) bungalow and warned, don’t go there.”

Visitor Ahmed Tariq had heard a lot about the palace’s architecture and history. “I’m from Bahawalpur (in Punjab, India) where we have the Noor Mahal palace, so I wanted to look at this one. It’s well-maintained, there’s a lot of detail and effort in the presentations. It’s been a good experience.”

But the money to maintain the palace isn’t coming from admission fees.

General admission is 30 rupees, or 10 U.S. cents, and it’s free for students, children and seniors. On a sweltering afternoon, the palace drew just a trickle of visitors.

It’s open Tuesday to Sunday but closes on public holidays; even the 11 a.m.-6 p.m. hours are not conducive for a late-night city like Karachi.

The palace is rented out for corporate and charitable events. Local media report that residents grumble about traffic and noise levels.

But the palace doesn’t welcome all attention, even if it could help carve out a space for the building in modern Pakistan.

Rumors about ghosts still spread by TikTok, pulling in influencers looking for spooky stories. But the palace bans filming inside, and briefly banned TikTokers.

“It is not the attention the trustees wanted,” said Askari. “That’s what happens when you have anything of consequence or unusual. It catches the eye.”

A sign on the gates also prohibits fashion shoots, weddings and filming for commercials.

“We could make so much money, but the floodgates would open,” said Askari. “There would be non-stop weddings and no space for visitors or events, so much cleaning up as well.”

Hashmi, the archaeologist, said there is often a strong sense of territorialism around the sites that have been preserved.

“It counterproductively converts a site of public heritage into an exclusive and often expensive artifact for selective consumption.” 
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NEW YORK — Music mogul Sean “Diddy” Combs has been hit with three federal charges of racketeering conspiracy, sex trafficking and transportation to engage in prostitution, according to an indictment unsealed on Tuesday.  

Combs, 54, was arrested in Manhattan by federal agents on Monday night, following a year in which his career was derailed by several lawsuits accusing him of physical and sexual abuse. 

Marc Agnifilo, Combs’ lawyer, said he was disappointed with the decision to pursue an “unjust prosecution” of the rapper and producer. 

“Sean ‘Diddy’ Combs is a music icon, self-made entrepreneur, loving family man, and proven philanthropist who has spent the last 30 years building an empire, adoring his children, and working to uplift the Black community,” Agnifilo said on Monday night. “He is an imperfect person, but he is not a criminal.” 

Agnifilo added that Combs voluntarily relocated to New York in anticipation of the charges. 

Combs, who has also been known as P. Diddy and Puff Daddy, was a major figure in hip-hop in the 1990s and 2000s. He founded the label Bad Boy records, and is credited with helping turn rappers and R&B singers such as Mary J. Blige, Faith Evans, Notorious B.I.G. and Usher into stars. 

His reputation came under fire last November when former girlfriend Casandra Ventura, an R&B singer known as Cassie, accused him in a lawsuit of serial physical abuse, sexual slavery and rape during their decade-long relationship. She agreed to an undisclosed settlement one day after suing, even as Combs denied her allegations. 

His legal pressures mounted, and he has faced several civil lawsuits by women and men who accused him of sexual assault and other misconduct. His lawyers have been fighting those cases in court. Federal agents raided his homes in Los Angeles and Miami Beach, Florida six months ago. 

Singer Dawn Richard, formerly of Danity Kane, last week accused Combs in a lawsuit of sexual assault, battery, sex trafficking, gender discrimination and fraud. 

A Michigan judge this month ordered Combs to pay $100 million to Derrick Lee Smith, who said Combs drugged and sexually assaulted him at a party almost 30 years ago, after Combs failed to show up to defend himself in court. A lawyer for Combs said he would seek to dismiss that judgment. 

Combs has also rejected claims in a February sex trafficking lawsuit by Rodney “Lil Rod” Jones, who Combs employed as a producer on his 2023 release “The Love Album: Off the Grid.” 

The indictment is not Combs’ first brush with the law. He was acquitted in March 2001 of bribery and weapons charges in a criminal trial stemming from a nightclub shooting that left three people wounded.
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Osaka, Japan — Japan celebrated on Monday the record-breaking Emmy Awards triumph of “Shogun”, although many confessed not having watched the series about the country’s warring dynasties in the feudal era.

“Shogun” smashed all-time records at the television awards in Los Angeles on Sunday, taking home an astounding 18 statuettes and becoming the first non-English-language winner of the highly coveted award for best drama series.

Lead Hiroyuki Sanada, who played Lord Toranaga, became the first Japanese actor to win an Emmy, while Anna Sawai achieved the same for her performance as Lady Mariko.

“As a Japanese, I’m happy Sanada won,” Kiyoko Kanda, a 70-year-old pensioner, told AFP in Tokyo.

“He worked so hard since he moved to Los Angeles,” she said.

“In ‘Last Samurai’, Tom Cruise was the lead, but it’s exciting Sanada is the main character in ‘Shogun’,” Kanda added.

But she admitted that she only watched the trailer.

The series is available only on Disney’s streaming platform, which is relatively new in Japan.

“I want to watch it. I’m curious to know how Japan is portrayed,” Kanda said.

Otsuka, who declined to give her first name, said she, too, has not watched the show.

“But I saw the news and I’m happy he won.” Sanada, now 63, began his acting career at the age of five in Tokyo and moved to LA after appearing in “Last Samurai” in 2003.

The words “historic achievements” and “Hiroyuki Sanada” were trending on X in Japanese, while Sanada’s speech at the awards racked up tens of thousands of views.

Yusuke Takizawa, 41, also only watched a trailer but he said he was amazed by the quality of the show.

“I was impressed by the high-spirited acting, the attention to detail and the film technology,” Takizawa told AFP outside Osaka Castle, a major historical location for the series.

“I think many young people will want to try their hand in Hollywood after watching Sanada,” he said.

Tourists at the castle also welcomed the record Emmy win.

“I think was the best TV show that I’ve seen this year,” said Zara Ferjani, a visitor from London.

“I thought it was amazing… The direction was beautiful, and I really enjoyed watching something that wasn’t in English as well,” the 33-year-old said.

She said she had planned to watch “Shogun” after returning home from Japan.

“But one of my friends strongly advised me to watch it beforehand, just to appreciate the culture more and definitely Osaka Castle more,” she added.

Breaking from cliches

Many in the Japanese film industry were also jubilant.

“He won after many years of trying hard in Hollywood. It’s too cool,” wrote Shinichiro Ueda, director of the hit low-budget film “One Cut of the Dead”, on X.

Video game creator and movie fan Hideo Kojima, who has described the show as “Game of Thrones in 17th-century Japan”, reposted a news story on the win.

The drama, adapted from a popular novel by James Clavell and filmed in Canada, tells the tale of Lord Toranaga, who fights for his life against his enemies alongside Mariko and British sailor John Blackthorne.

A previous TV adaptation made in 1980 was centered on Blackthorne’s perspective.

But the new “Shogun” breaks away from decades of cliched and often bungled depictions of Japan in Western cinema, with Japanese spoken throughout most of the show.

Sanada, who also co-produced the drama, is credited with bringing a new level of cultural and historical authenticity to “Shogun.”

An army of experts, including several wig technicians from Japan, worked behind the scenes to make the series realistic, poring over sets, costumes and the actors’ movements.
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LOS ANGELES — “Hacks” won the comedy series at Sunday’s Emmy Awards, topping “The Bear,” which took home several of the night’s honors.

“Shogun” won the best drama series win, collecting a whopping 18 Emmys for its first season, just one of several historic wins.

Hiroyuki Sanada won best actor in a drama for “Shogun” on Sunday night at the Emmy Awards, and Anna Sawai won best actress as they became the first two Japanese actors to win Emmys.

Their wins gave the FX series momentum going into one of the night’s top awards, where “Shogun” won best drama series.

“The Bear” came back for seconds in a big way at the ceremony four times including best actor, best supporting actor and best supporting actress in a comedy, while British upstart “Baby Reindeer” won four of its own, including best limited series.

The star of FX’s “The Bear” Jeremy Allen White won best actor in a comedy for the second straight year, and Ebon Moss-Bachrach repeated as best supporting actor.

A surprise came when Liza Colón-Zayas won best supporting actor over major competition.

“How could I have thought it would be possible to be in the presence of Meryl Streep and Carol Burnett,” Colón-Zayas said as tears welled in her eyes as she accepted the award on the stage of the Peacock Theater in Los Angeles.

She is the first Latina to win in the category.

“To all the Latinas who are looking at me,” she said, “keep believing and vote.”

Netflix’s darkly quirky “Baby Reindeer” won best actor and best writing for the show’s creator and star Richard Gadd and best supporting actress for Jessica Gunning, who plays his tormentor.

Accepting the best limited series award, Gadd urged the makers of television to take chances.

“The only constant across any success in television is good storytelling,” he said. “Good storytelling that speaks to our times. So take risks, push boundaries. Explore the uncomfortable. Dare to fail in order to achieve.”

“Baby Reindeer” is based on a one man-stage show in which Gadd describes being sexually abused along with other emotional struggles.

Accepting that award, he said, “no matter how bad it gets, it always gets better.”

The Associated Press does not typically name people who say they have been sexually abused unless they come forward publicly as Gadd has.

Jodie Foster won her first Emmy to go with her two Oscars when she took best actress in a limited series for “True Detective: Night Country.”

The creator of “The Bear” was also a repeat winner. Christopher Storer took his second straight Emmy for directing, an award handed out by reunited “Happy Days” co-stars Ron Howard and Henry Winkler.

White said backstage that he was watching in the wings as Colón-Zayas won and “that was just the greatest.”

He also shouted out two acting wins the show had already scored at last weekend’s Creative Arts Emmy Awards, when Jamie Lee Curtis won best guest actress in a comedy for playing his mother, and Jon Bernthal won best guest actor for playing his big brother.

“The Bear” won six times including most of the top comedy categories at the strike-delayed Emmys in January.

While the third season of FX’s “The Bear” has already dropped, the trio won their second Emmys for its second, in which White’s chef Carmen “Carmy” Berzatto attempts to turn his family’s grungy Chicago sandwich shop into an elite restaurant. It could still win more Sunday night including best comedy series.

The father-son hosting duo of Eugene and Dan Levy in their monologue at the top of the show mocked the very dramatic “The Bear” being in the comedy category.

“In honor of ‘The Bear’ we will be making no jokes,” Eugene Levy said, to laughs.

Jean Smart won best actress in a comedy for “Hacks.” She has won for all three seasons of “Hacks,” and has six Emmys overall.

She beat nominees including Ayo Edebiri, who as co-star of “The Bear” moved from supporting actress, which she won in January, to lead actress.

Coming into the show the big story was “Shogun,” which had already taken the most Emmys for a show in a single season with 14 at the Creative Arts ceremony.

The FX series about lordly politicking in feudal Japan can still win best drama series.

If “Shogun” faces competition for the best drama prize, it could come for the sixth and final season of “The Crown,” the only show among the nominees that has won before in a category recently dominated by the retired “Succession.”

Elizabeth Debicki took best supporting actress in a drama for playing Princess Diana at the end of her life in the sixth and final season of the show.

“Playing this part, based on this unparalleled, incredible human being, has been my great privilege,” Debicki said. “It’s been a gift.”

Billy Crudup won best actor in a drama for “The Morning Show.”

Streep wasn’t the only Oscar winner trumped by a little-known name. Robert Downey Jr., the reigning best supporting actor winner for “Oppenheimer,” was considered the favorite to win best supporting actor in a limited series for “The Sympathizer,” but that award went to Lamorne Morris for “Fargo.”

“Robert Downey Jr. I have a poster of you in my house!” Morris said from the stage as he accepted his first Emmy.

Several awards were presented by themed teams from TV history, including sitcom dads George Lopez, Damon Wayans and Jesse Tyler Ferguson and TV moms Meredith Baxter, Connie Britton, and Susan Kelechi Watson.
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LOS ANGELES — The 76th annual Emmy Awards were handed out Sunday at the Peacock Theater in downtown Los Angeles.

“Shogun” set a single season record for most wins with 18. “Shogun” won best drama series, and Hiroyuki Sanada and Anna Sawai won acting awards for their roles.

“Hacks’’ won the award for best comedy series. ”Baby Reindeer” and “The Bear’’ won four awards apiece.

Early winners included Ebon Moss-Bachrach, Jeremy Allen White and Liza Colón-Zayas, who won awards for their work in the comedy series “The Bear.”

Stars presenting Emmys to their peers included: Billy Crystal, Viola Davis, Selena Gomez, Steve Martin, Maya Rudolph and Martin Sheen.

Several actors and shows, including Rudolph, won last week. Rudolph won her sixth Emmy Award at last weekend’s Creative Arts Emmys for her voice work on “Big Mouth.” Jamie Lee Curtis also picked up a supporting actress Emmy last weekend for her appearance on “The Bear.”

Here’s a list of winners at Sunday’s Emmys:

Supporting actor in a comedy series

Ebon Moss-Bachrach, “The Bear”

Supporting actor in a drama series

Billy Crudup, “The Morning Show”

Actor in a comedy series

Jeremy Allen White, “The Bear”

Supporting actress in a comedy series

Liza Colón-Zayas, “The Bear”

Supporting actress in a drama series

Elizabeth Debicki, “The Crown”

Actress in a comedy series

Jean Smart, “Hacks”

Reality competition program

“The Traitors,” Peacock

Supporting actress limited

Jessica Gunning, “Baby Reindeer”

Scripted variety series

“Last Week Tonight with John Oliver,” HBO/Max

Writing for a variety special

Alex Edelman, “Just for Us”

Directing for a limited or anthology series

Steven Zaillian, “Ripley”

Writing for a comedy series

Lucia Aniello, Paul W. Downs and Jen Statsky, “Hacks”

Talk series

“The Daily Show,” Comedy Central

Supporting actor in a limited or anthology series

Lamorne Morris, “Fargo”

Writing for a drama series

Will Smith, “Slow Horses”

Writing for a limited series, anthology or movie

Richard Gadd, “Baby Reindeer”

Directing for a comedy series

Christopher Storer, “The Bear”

Governors award

Greg Berlanti

Directing for a drama series

Frederick E.O. Toye, “Shogun”

Actor in a limited, anthology series or movie

Richard Gadd, “Baby Reindeer”

Actress in a limited, anthology series or movie

Jodie Foster, “True Detective: Night Country”

Limited, anthology series or movie

“Baby Reindeer”

Actor in a drama series

Hiroyuki Sanada, “Shogun”

Actress in a drama series

Anna Sawai, “Shogun”

Drama series

“Shogun”

Comedy series

“Hacks”
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Los Angeles — Hollywood will dole out the annual Emmy Awards, the highest honors in television, Sunday at a red-carpet ceremony where the historical drama “Shogun” and restaurant tale “The Bear” are poised to dominate the night.

“Shogun,” a lavish epic about a power struggle in 17th-century Japan, is the front-runner to take the night’s top trophy for best drama series, according to awards pundits. Reigning best comedy champion “The Bear” is expected to claim that prize again.

Both shows debuted on the FX cable network and stream on Hulu, setting up a big night for owner Walt Disney and its TV chief Dana Walden.

Sunday’s ceremony will take place just eight months after the last Emmys, which aired in an unusual January slot because of disruptions caused by Hollywood labor strikes.

Back on a September schedule, the show will air live from downtown Los Angeles on Disney’s ABC starting at 5 p.m. Pacific time Sunday (12 a.m. GMT on Monday).

“Schitt’s Creek” father-son duo Eugene and Dan Levy will host the festivities. Producers have promised cast reunions from shows past, such as “Happy Days,” and other moments to celebrate the history of television.

Olympic gold medalist swimmer Caeleb Dressel and bronze medalist rugby player Ilona Maher also are scheduled to appear.

Ahead of the ceremony, “Shogun” has already set records. It won 14 trophies — the most ever for one season of a drama series — at last weekend’s Creative Arts Emmys, where awards were given for guest actors and crafts such as cinematography.

The expensive series was no sure thing. It had been in development for years before it came together with elaborate sets, makeup and costumes and storytelling that impressed critics with its attention to detail.

“That’s part of the Cinderella story of this series,” said Clayton Davis, awards editor at Hollywood publication Variety.

Competitors for best drama include British royal family saga “The Crown” and spy thriller “Mr. & Mrs. Smith” from Amazon’s Prime Video.

“The Bear” also performed well at the Creative Arts Emmys, earning seven awards. The show is competing with its second season, which featured a widely praised episode about a disastrous family holiday gathering.

HBO’s “Hacks,” about a 70-something comedienne and a millennial writer, could play the role of spoiler in the comedy category. Due to the timing of their seasons, the shows have never competed head-to-head at the Emmys.

Limited series looks like a lock for “Baby Reindeer,” awards watchers said. The Netflix series tells the tale of a bartender stalked and harassed by a customer.

Scottish comedian and star Richard Gadd has said the Netflix show is based on his real-life story, although a defamation lawsuit argues the stalker’s behavior is exaggerated.

Rivals for limited series include Netflix’s psychological thriller “Ripley,” FX’s “Fargo” and HBO’s “True Detective: Night Country,” starring lead actress nominee Jodie Foster.

Winners are chosen by the nearly 22,000 performers, directors, producers and other members of Hollywood’s Television Academy.
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What is Art? It’s an age-old question: is it paint on canvas, ceramics or sculpture? The fun part is – art can be anything – and can even be created with a chainsaw. That’s the medium of one artist from the U.S. state of Virginia. Maxim Adams has the story. (Camera: Andrey Degtyarev; Produced by: Andrey Degtyarev, Anna Rice)
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MEJICANOS, El Salvador — From the window of her tin-sided shop outside El Salvador’s capital, San Salvador, Esmeralda Quintanilla watches artists get to work in her neighborhood on walls still pockmarked by bullet holes from the country’s civil war and gang conflict.

Armed with brushes, paint and spray cans, muralists and graffiti artists have already covered the walls of several of the 40 five-story units in a housing complex in the Zacamil neighborhood of the Mejicanos district.

“With the murals, everything looks really nice,” said Quintanilla, a 55-year-old seamstress who has lived in the neighborhood nearly half her life. “You start to see all this, and it gives the place a different image. I feel really happy, proud.”

The dozen murals already completed include a Mesoamerican pyramid, pixelated depictions of the Virgin Mary and works straight out of the artists’ imaginations.

The initiative in the once-violent neighborhood is led by a Salvadoran foundation that seeks to fill communities with art. Its aim in Zacamil is to create stories-high murals over the next two years on nearly every wall of the complex, which houses around 4,000 residents.

Zacamil got a break from decades of violence two years ago when President Nayib Bukele launched a nationwide crackdown on gangs. The state of emergency — which human rights groups have said Bukele must end amid reports of abuses — has put almost 82,000 alleged gang members in prison.

Even with the murals improving the neighborhood’s appearance, chronic infrastructure issues remain, with garbage piled up in the streets and storm drains clogged. TV antennas, power cables and clothes strewn out windows across clotheslines also dot the neighborhood.

Many Zacamil residents fled in 1989 when fighting between the Salvadoran army and the former leftist guerrilla group, Farabundo Marti National Liberation Front, or FMLN, nearly destroyed the Mejicanos district.

When they returned, many found homes damaged by two earthquakes in 2001 or invaded by gang members.

“There are always problems, but this is a facelift,” said a 70-year-old resident who declined to give his name.

El Salvador’s 12-year civil war from late 1979 to January 1992 killed more than 75,000 people.
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rio de janeiro — Rio de Janeiro’s main beaches bustle with commotion on sunny weekends. But activity ground to a near standstill on one stretch of sand. People held up their phones to record athletic feats they’d never before witnessed, or even imagined.

The game? Footvolley, a combination of soccer and beach volleyball. The athlete? A 3-year-old border collie named Floki.

Floki sparks wonder among bystanders because he hangs tough in a game that even humans struggle to get a handle on. Footvolley rules are essentially the same as beach volleyball, but with a slightly lower net and, like soccer, players are forbidden from using hands and arms. Floki springs up from the sand to drive the ball with his snout. He has become something of an internet sensation in Brazil, with hundreds of thousands of followers on Instagram and TikTok.

Floki’s owner, Gustavo Rodrigues, is a footvolley coach, but swears he didn’t plan this. He had wanted an American Bully, a decidedly less sprightly breed. Floki came into Rodrigues’ life instead and quickly revealed his potential when, at just 2 months old, he started jumping after birthday balloons.

Rodrigues started Floki out on what’s called “altinha,” where a group standing in a circle juggles a soccer ball for as long as possible. In 2023, Floki made his debut in the much more complex, competitive game of footvolley — a hobby enjoyed by some Brazilian soccer stars after they retire, including World Cup winners Ronaldinho and Romario.

Footvolley players need poise, agility, coordination, timing, finesse. Covering one side of the court between just two people means quick sprints back and forth on soft sand under the baking sun. It’s no mean feat, but Floki was a natural. A star was born.

“He does things that even some professionals don’t — like positioning on the court,” said Rodrigues, 26. “Sometimes the ball goes from one side (of the court) to the other, and he doesn’t keep his back turned to it. He turns toward the ball to always hit it straight on.”

It’s clear this high-energy pup lives for this game. Even resting under the shade of the beach’s caipirinha bar, he was laser-focused on the action of the adjacent court’s match.

When playing, he barks at Rodrigues to pass him the ball and seems to at least understand the basic rules. At times, rather than passing back to Rodrigues for the third and final touch their opponents expect, he sneaks the ball over the net himself to score a point. Then he jumps into Rodrigues’ arms to celebrate.

One of the awestruck onlookers Sunday was Luiza Chioli, who had traveled to Rio from Sao Paulo. She already knew the famous Floki from TikTok, but hadn’t expected front-row seats to watch him while sipping her gin and tonic.

“Seeing social media, we had thought it was just cuts, that they used the best takes,” said Chioli, 21. “But we saw he played, performed the whole time, did really well. It’s really cool.”

As Floki’s follower count has grown, partnerships and endorsement deals have come rolling in. Rodrigues and Floki live in the inland capital Brasilia, but often travel to Rio — footvolley’s mecca — and other Brazilian states to show off his skills, do marketing appearances and create monetized social media content.

Floki’s Sunday began with almost an hour playing beside former footvolley champion Natalia Guitler, who’s been called Queen of the Beach. Between attempts to film her doing a trick pass to him, he scampered for drinks of water or to dip in the ocean. By the end, both she and Floki were scrambling for shade.

“We’re dead,” she said as she collapsed onto the sand next to a panting Floki. Someone passed her a phone to check out the best clips for her Instagram, where she has almost 3 million followers.

“Me and my bestie @dog_altinha playing footvolley,” she wrote in a later post showing their long rally, and which included her bicycle kicking the ball over the net.

After a rest and another footvolley session, Floki headed to a more remote beach to do a marketing shoot for Farm, a fashion designer that’s become the paragon of Rio’s breezy tropical style, both in Brazil and abroad.

Then Floki was on Instagram hyping a brand of dog popsicles, gnawing a banana-flavored one himself, and giving an altinha demonstration to mall shoppers. His evening stroll along Copacabana’s beachside promenade showed him straining against his leash, still evidently bursting with his boundless energy.

With their weekend marketing blitz in Rio over, Rodrigues and Floki would head back to Brasilia, where their influencer hustle takes a back seat to the hustle of playing competitive matches. They win about one in every three, Rodrigues said, and their opponents are always desperate to avoid being beaten by a dog.

“It generates talk, and people make fun,” said Rodrigues. “No one likes to lose a point to him, so people play their hearts out against us.”
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FORT LAUDERDALE, Florida — Ballet dancer Michaela Mabinty DePrince, who came to the United States from an orphanage in war-ravaged Sierra Leone and performed on some of the world’s biggest stages, has died, her family said in a statement. She was 29.

“Michaela touched so many lives across the world, including ours. She was an unforgettable inspiration to everyone who knew her or heard her story,” her family said in a statement posted Friday on DePrince’s social media accounts. “From her early life in war-torn Africa, to stages and screens across the world, she achieved her dreams and so much more.”

A cause of death was not provided.

DePrince was adopted by an American couple and by age 17 she had been featured in a documentary film and had performed on the TV show “Dancing with the Stars.”

After graduating from high school and the American Ballet Theatre’s Jacqueline Kennedy Onassis School, she became a principal dancer with the Dance Theatre of Harlem. She then went to the Netherlands, where she danced with the Dutch National Ballet. She later returned to the U.S. and joined the Boston Ballet in 2021.

“We’re sending our love and support to the family of Michaela Mabinty DePrince at this time of loss,” the Boston Ballet said in a statement to The Associated Press on Saturday. “We were so fortunate to know her; she was a beautiful person, a wonderful dancer, and she will be greatly missed by us all.”

In her memoir, Taking Flight: From War Orphan to Star Ballerina, she shared her journey from the orphanage to the stage. She also wrote a children’s book, Ballerina Dreams.

DePrince suffered from a skin pigmentation disorder that had her labeled “the devil’s child” at the orphanage.

“I lost both my parents, so I was there [the orphanage] for about a year, and I wasn’t treated very well because I had vitiligo,” DePrince told the AP in a 2012 interview. “We were ranked as numbers, and number 27 was the least favorite and that was my number, so I got the least amount of food, the least amount of clothes and whatnot.”

She added that she remembered seeing a photo of an American ballet dancer on a magazine page that had blown against the gate of the orphanage during Sierra Leone’s civil war.

“All I remember is she looked really, really happy,” DePrince told the AP, adding that she wished “to become this exact person.”

She said she saw hope in that photo, “and I ripped the page out and I stuck it in my underwear because I didn’t have any place to put it,” she said.

Her passion helped inspire young Black dancers to pursue their dreams, her family said.

“We will miss her and her gorgeous smile forever and we know you will, too,” their statement said.

Her sister, Mia Mabinty DePrince, recalled in the statement that they slept on a shared mat in the orphanage and used to make up their own musical theater plays and ballets.

“When we got adopted, our parents quickly poured into our dreams and arose the beautiful, gracefully strong ballerina that so many of you knew her as today. She was an inspiration,” Mia DePrince wrote. “Whether she was leaping across the stage or getting on a plane and flying to third-world countries to provide orphans and children with dance classes, she was determined to conquer all her dreams in the arts and dance.”
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LONDON — Prince Harry was always something different.

From the moment he first appeared in public, snuggled in Princess Diana’s arms outside the London hospital where he was born in 1984, Harry was the ginger-haired scamp who stuck his tongue out at photographers. He grew to be a boisterous adolescent who was roundly criticized for wearing a Nazi uniform to a costume party, and then a young man who gave up the trappings of royal life and moved to Southern California with his American wife.

Through it all, there was a sense that Harry was rebelling against an accident of birth that made him, in the harsh calculus of the House of Windsor, just “the spare.” As the second son of the man who is now King Charles III, he was raised as a prince but wouldn’t inherit the throne unless brother William came to harm.

Now the angry young man is turning 40, the halfway point in many lives, providing a chance to either dwell on the past or look forward to what might still be achieved.

For the past four years, Harry has focused mainly on the past, making millions of dollars by airing his grievances in a wildly successful memoir and a Netflix docu-series. But he faces the likelihood that the royal aura so critical to his image may be fading, said Sally Bedell Smith, author of “Charles: The Passions and Paradoxes of an Improbable Life.”

“He is at a sort of crossroads,’’ Smith told The Associated Press. “And he appears to be struggling with how he wants to proceed.’’

How did we get here?

It wasn’t always this way.

Six years ago, Harry and his wife were among the most popular royals, a glamorous young couple who reflected the multicultural face of modern Britain and were expected to help revitalize the monarchy.

Their wedding on May 19, 2018, united a grandson of Queen Elizabeth II with the former Meghan Markle, a biracial American actress who had starred for seven years in the U.S. television drama “Suits.” George Clooney, Serena Williams and Elton John attended their wedding at Windsor Castle, after which the couple were formally known as the Duke and Duchess of Sussex.

But the optimism quickly faded amid allegations that Britain’s tabloid media and even members of the royal household treated Meghan unfairly because of racism.

By January 2020, the pressures of life in the gilded cage had become too much, and the couple announced they were giving up royal duties and moving to America, where they hoped to become “financially independent.” They signed lucrative deals with Netflix and Spotify as they settled into the wealthy enclave of Montecito, near Santa Barbara, California.

Since then, Harry has missed few opportunities to bare his soul, most famously in his memoir, aptly titled “Spare.”

In the ghostwritten book, Harry recounted his grief at the death of Princess Diana, a fight with Prince William and his unease with life in the royal shadow of his elder brother. From accounts of cocaine use and losing his virginity to raw family rifts, the book was rife with damning allegations about the royal family.

Among the most toxic was Harry’s description of how some family members leaked unflattering information about other royals in exchange for positive coverage of themselves. The prince singled out his father’s second wife, Queen Camilla, accusing her of feeding private conversations to the media as she sought to rehabilitate an image tarnished by her role in the breakup of Charles’ marriage to Diana.

The allegations were so venomous that there is little chance of a return to public duty, Smith said.

“He criticized the royal family in such a powerful and damaging way. You can’t un-say those things,” she said. “And you can’t unsee things like Meghan in that Netflix series doing a mock curtsey. It’s such a demeaning gesture to the queen.’’

Harry, who agreed not to use the honorific HRH, or “his royal highness,” after he stepped away from front-line royal duties, is now fifth in line to the British throne, behind his brother and William’s three children.

While he grew up in a palace and is said to be in line to inherit millions of dollars on his 40th birthday from a trust set up by his great-grandmother, applied developmental psychologist Deborah Heiser thinks that, in many ways, Harry is just like the rest of us.

Like anyone turning 40, he is likely to have learned a few lessons and has a good idea of who his real friends are, and that will help him chart the next phase of his life, said Heiser, who writes a blog called “The Right Side of 40” for Psychology Today.

“He has had a very public display of what a lot of people have gone through,” Heiser said. “I mean, most people are not princes, but … they have all kinds of issues within their families. He’s not alone. That’s why he’s so relatable.’’

Harry’s next chapter

Of course, Harry’s story isn’t just about the drama within the House of Windsor.

If he wants to write a new chapter, Harry can build on his 10 years of service in the British Army. Before retiring as a captain in 2015, the prince earned his wings as a helicopter pilot, served two tours in Afghanistan and shed the hard-partying reputation of his youth.

Harry also won accolades for establishing the Invictus Games in 2014, a Paralympic-style competition to inspire and aid in the rehabilitation of sick and wounded servicemembers and veterans.

Harry and Meghan made headlines this year with their two international trips to promote mental health and internet safety. While some in British media criticized them for accepting royal treatment in Nigeria and Colombia, the couple said they visited at the invitation of local officials.

Will Charles see the grandkids?

The prospects of reconciliation are unclear, although Harry did race home to see his father after Charles’ cancer diagnosis. And in what may be seen as a tentative olive branch, the paperback edition of “Spare” slated for October has no additions — so nothing new to stir the pot.

But plainly at this point, Harry is thinking about his family in California. He told the BBC about the importance of his two young children, Archie and Lilibet.

“Being a dad is one of life’s greatest joys and has only made me more driven and more committed to making this world a better place,” the prince said in a statement released by his spokesperson.
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london — An animal rights group trying to get real fur out of the bearskin caps worn by King’s Guards at Buckingham Palace took aim Thursday at the cost of the ceremonial garb. 

The price of the caps soared 30% in a year to more than 2,000 pounds ($2,600) apiece for the hats made of black bear fur, the Ministry of Defense said in response to a freedom of information request by People for the Ethical Treatment of Animals. 

“Stop wasting taxpayer pounds on caps made from slaughtered wildlife and switch to faux fur today,” the group said in a statement. 

A luxury fake fur maker has offered to supply the army with free faux bear fur for 10 years, PETA said. 

Military willing to consider alternatives

The military said it was open to exploring alternatives if they pass muster in durability, water protection and appearance. But “no alternative has met all those criteria to date,” a ministry spokesperson said in a statement. 

The distinctive tall black hats, worn by guards in bright scarlet tunics, are seen by millions who watch the regular changing of the guard ceremony at the palace. They also appear at other royal events including the annual Trooping the Color ceremony honoring the monarch’s birthday in June.

The cost of the caps rose from 1,560 pounds ($2,035) each in 2022 to 2,040 pounds ($2,660) in 2023, the ministry said. More than 1 million pounds ($1.3 million) was spent on them in the past decade. 

The price went up because of a contract change for fur that comes from bears killed in licensed hunts in Canada, the military said.

PETA, which has been pushing for more than two decades to scrap the fur hats, said each cap requires one bear pelt. The group claimed that the defense department is propping up the “cruel” Canadian bear-hunting industry. 

The ministry denied that charge and said if it stopped buying the pelts, it would not reduce the numbers of bears being killed. 

Petition calls for fake fur

Parliament debated the issue in July 2022 after an online petition with more than 100,000 signatures called for using fake fur in the caps. 

“This hunting involves the violent killing of bears, with many bears being shot several times,” Martyn Day, then a Scottish National Party member of Parliament, said at the time. “It seems undeniable, therefore, that by continuing to purchase hats made from the fur of black bears the MOD is funding the suffering of bears in Canada by making the baiting and killing of those animals and the sale of their pelts a profitable pursuit for the hunters.” 

Day said a poll at the time found 75% of the U.K. population found real bearskins were a bad use of taxpayer money and supported replacing the hats. 

He noted that the late Queen Elizabeth II had ceased buying fur for her wardrobe. 

Earlier this year, Queen Camilla, wife of King Charles III, pledged to buy no more fur products. 
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RIO DE JANEIRO — Brazil formally received on Thursday the return from Denmark of an Indigenous cloak made with 4,000 red feathers of the scarlet ibis bird, a sacred mantle that was taken by Europeans during the 17th century colonial era.

President Luiz Inacio Lula da Silva attended the ceremony outside Brazil’s National Museum in Rio de Janeiro, marking the importance that Brazil gives to the item’s repatriation.

The cloak, a feathered ceremonial cape used in religious rituals of the Tupinamba people of Bahia in northeastern Brazil, was removed during the Dutch occupation of the area.

Its first mention comes in a Danish inventory in 1689, although it is thought to have been taken from Brazil some 50 years before.

By the 21st century it was held in the ethnographic collection of Denmark’s National Museum, the Nationalmuseet. In 2000, the museum lent the cloak out for an exhibition in Sao Paulo.

A Tupinamba leader saw it there and demanded its return. Last year, after lengthy diplomatic negotiations, the Danish museum announced it would donate the cloak to Brazil’s National Museum, and it was repatriated in July.

Some 170 Tupinamba traveled from southern Bahia to Rio to celebrate its return.

“It is crucial they return what isn’t theirs and rightfully belongs to us. Our heritage strengthens our identity,” said cacique, or chief, Jamopoty Tupinamba to Agencia Brasil on Wednesday.

From the first Portuguese voyages to Brazil in the early 16th century, Indigenous cultural items were taken to Europe as evidence of the “discovery” of new territories and then entered museums or private collections.

A fresco painted in 1674 on the ceiling of the Apollo Salon at the Palace of Versailles, the king’s throne room, depicts newly found America as a woman wearing a Tupinamba cloak as if it were a headdress.

According to cultural heritage activist Gliceria Tupinamba, there are another 10 such cloaks in Europe, held in museums and libraries in Italy, France, Belgium, Switzerland and Denmark, where the National Museum still has one large and three partial ones.

“It took more than 20 years to get the cloak back. Its return is a symbol of the protection of our cultural and land rights that are under threat today in Brazil,” she said.
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Tokyo — The samurai in Shogun don’t swing their arms as they walk — just one of many authentic historical details that have helped make the hit television drama this year’s top Emmys contender.

The period drama, praised for its meticulous approach to accuracy, made TV history with 25 Emmy nominations, and has already swept up 14 prizes in minor categories ahead of Sunday’s gala.

Set in early 17th century feudal Japan, Shogun makes a break from decades of cliched and often bungled depictions of the country in Western-made film and television.

An army of experts including several wig technicians from Japan worked behind the scenes to make the series realistic, poring over sets, costumes and the actors’ movements.

Kyoto-based historian Frederik Cryns advised on everything from the types of kimonos to the position of tatami mats.

“My comments were compiled, and to my surprise, became a 2,100-page manual” that was followed almost to the letter, Cryns — a professor at the International Research Center for Japanese Studies — told AFP.

Cryns said he had often felt a “sense of discomfort” when watching Japan-themed Hollywood movies because of their inaccuracy.

But Shogun — made by Disney-owned FX and co-produced by Japanese actor Hiroyuki Sanada, who also stars in the series — is the most realistic production of its kind, according to Cryns.

“Honestly, tears welled up in my eyes after watching the show” for the first time, he said.

‘Independent’ women

Shogun, which means “general” in Japanese, was adapted from a popular novel by James Clavell, and filmed in Canada.

Some characters are inspired by real historical figures, including the protagonist Lord Toranaga (Sanada), who is based on Japan’s famous warlord Tokugawa Ieyasu.

In the show, Toranaga fights for his life against his enemies with his allies, British sailor John Blackthorne (Cosmo Jarvis) and noblewoman Lady Mariko (Anna Sawai).

In one scene, instead of a regular sword, Mariko wields a naginata — a long pole with a curved blade on one end, used by women in Japanese warrior families.

“Women in medieval Japan were independent,” said Cryns, who recommended that weapon be used.

“Samurai went into battle, of course, but women would also fight with naginata when they had to protect their castle.”

As a movement supervisor, Japanese dancer and kabuki actor Hannojo trained some of the show’s main actors in Japan for three months.

He was also in Vancouver during filming to advise on “shosa” — stylized movements from kabuki, a traditional Japanese form of theatre.

“There are correct ways to walk, sit and stand in a kimono, but it’s difficult for young actors” who don’t have regular experience wearing such outfits, Hannojo said.

“For example, samurai don’t swing their arms when walking. They glide without moving the upper body.”

Some of the cast struggled with more graceful motions, such as when noblewomen would stand up straight from the floor without crouching, he said.

“It looks beautiful” and “Japanese people used to have muscles for that — but not anymore, because we sit on chairs!” he quipped.

‘120%’

Japanese is spoken in 70% of Shogun — a choice producer Eriko Miyagawa described as “groundbreaking.”

Even though most people might not notice, the crew strove to make even the props authentic because they “wanted to do 120 %,” she said.

For example, the writing on the scrolls was done by a Vancouver-based Japanese calligrapher using the handwriting of the historical figures on whom the characters are based.

Commitment to authenticity “came from the very top” within FX, according to Miyagawa.

“They chose Justin Marks (as showrunner) … who has an insatiable curiosity and respect for Japanese culture,” she said.

“They brought Hiroyuki Sanada and myself on as producers from the beginning,” she added. “That’s a big deal.”

FX is now working to develop more seasons of Shogun — but not everything in the first instalment is true to life.

Unlike the other samurai, Toranaga’s hair was not shaved in the middle — a creative decision made for visual reasons.

Miyagawa, who began her career as a translator for Kill Bill in 2003 and worked as a co-producer for Martin Scorsese’s Silence, said the team “probably couldn’t have pulled off” the series 10 years ago.

A previous TV miniseries adaptation of the novel made in 1980 was centered on Blackthorne’s perspective. And yes, the samurai did swing their arms.

“The world has changed and the market has evolved,” which “paved the way” for the show’s success, said Miyagawa.

“I like to think Shogun pushed this evolution forward.” 
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