About 5 million Ukrainian refugees have fled to other parts of Europe since Russia’s assault on their homeland began in February. Among them: nearly three dozen dancers from the Kyiv City Ballet. They’ve found refuge in Paris and continue to perform and plan foreign tours, but the conflict is never far away. For VOA, Lisa Bryant has more from Paris.
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A startup professional golf tour backed by Saudi Arabia’s sovereign wealth fund has roiled the usually staid world of professional golf — the PGA Tour — in the United States.

The PGA suspended 17 professional players last week for participating in the inaugural Saudi tournament, which began June 9.

The new tour, the LIV Golf Invitational Series, has caused controversy for months, in large part because critics of the Saudi regime’s policies claimed it was a way to launder the reputation of the country’s monarchy, particularly that of Crown Prince Mohammed bin Salman.

The crown prince has been held in disrepute internationally since at least 2018, when agents of his government allegedly assassinated journalist Jamal Khashoggi at the Saudi embassy in Istanbul and dismembered his body to hide the evidence. The CIA later concluded that Salman ordered the killing.

U.S. President Joe Biden, who, as a candidate in 2019, declared that Saudi Arabia should be considered a “pariah” state based on its record of human rights abuses, including the Khashoggi killing, is currently attempting a rapprochement with the Saudi regime. He is expected to visit Riyadh in July.

A new approach

The Roman numerals in the new tour’s name — LIV, or 54 — refer to its format. Unlike the traditional PGA Tour, which typically involves four rounds of golf totaling 72 holes, LIV Golf consists of just three rounds, for a total of 54 holes.

LIV Golf markets itself as taking a fresh approach to a sport steeped in history, decorum and understatement. Its tournaments feature loud music, a team format and “shotgun” starts in which all teams begin play at the same time at different holes.

The new tour also offers large purses. On Saturday, South African golfer Charl Schwartzel won the tournament’s top individual prize of $4 million. Schwartzel’s side also won the team competition, splitting an additional $3 million between the four of them.

The Saudis are also reportedly paying top players undisclosed appearance fees, which in some cases might exceed the prize money on offer at specific tournaments.

Indeed, the amount of money the Saudis are pouring into LIV Golf appears be a major reason it has been able to separate well-known players, including Dustin Johnson, Bryson DeChambeau and Patrick Reed, from the PGA Tour.

LIV ‘leverage’

Early this year, American golfer Phil Mickelson, one of the most popular and successful players of his generation, sparked anger after a biographer quoted him weighing the pros and cons of playing in the new league.

Characterizing the Saudi leadership as “scary,” Mickelson said, “We know they killed Khashoggi and have a horrible record on human rights. They execute people over there for being gay. Knowing all of this, why would I even consider it?”

Mickelson went on to say that he has joined LIV Golf because he saw the new league as a way to force change on the PGA Tour, which he characterized as “manipulative” and “coercive,” toward players.

“The Saudi money has finally given us that leverage,” he said.

Mickelson was immediately dropped by a number of high-profile sponsors. He later apologized and withdrew from professional golf for months. However, he was on hand when the inaugural LIV Golf Invitational London tournament kicked off June 9 in Hemel Hempstead, England.

Dueling statements

As the LIV event began, PGA Tour Commissioner Jay Monahan sent a letter to the tour members announcing that 17 players had been suspended for their participation. Ten of them had already voluntarily resigned their PGA Tour membership.

“These players have made their choice for their own financial-based reasons,” a decision, he wrote, that “disrespects you, our fans and our partners.”

He added: “I am certain our fans and partners — who are surely tired of all this talk of money, money and more money — will continue to be entertained and compelled by the world-class competition you display each and every week, where there are true consequences for every shot you take and your rightful place in history whenever you reach that elusive winner’s circle.”

LIV Golf responded immediately with a statement of its own.

“Today’s announcement by the PGA Tour is vindictive and it deepens the divide between the Tour and its members,” it said. “It’s troubling that the Tour, an organization dedicated to creating opportunities for golfers to play the game, is the entity blocking golfers from playing. This certainly is not the last word on this topic. The era of free agency is beginning as we are proud to have a full field of players joining us in London, and beyond.”

‘Staggering’ amount of money

John A. Fortunato, a professor at Fordham University’s Gabelli School of Business, told VOA that the question of “free agency” in golf is not new. Some European players, for example, play in PGA Tour events in the U.S. but also participate in non-PGA events in Europe.

Fortunato, the author of the book Making the Cut: Life Inside the PGA Tour System, also said that freedom from the PGA’s participation rules is probably not the main driver behind some players opting for the LIV, he said.

“The amount of money is staggering,” he said. Indeed, Schwartzel’s $4 million purse in the LIV opener dwarfed the approximately $1.5 million that Rory McIlroy took home for winning a PGA Tour event in Canada on the same weekend.

Television deals and sponsors

Fortunato said the new league’s long-term success will hinge in part on getting television networks to cover its tournaments — a task that will be difficult in the U.S., given that most major broadcast networks as well as cable sports giant ESPN have long-standing relationships with the PGA Tour.

He said another factor will be how two “major” tournaments in the U.S. that are not run by the PGA Tour decide to address the issue of LIV participation.

One of those tournaments, the U.S. Open, begins Thursday, June 16, and appears poised to allow LIV participants to play. But that may be in part because the organizers did not have time to develop a policy toward the new tour.

The next Masters Tournament, held by the Augusta National Golf Club, will not take place until spring 2023. The Masters could prevent LIV participants from playing in Augusta.

“That’s the big domino that I’m watching,” Fortunato said. “And that is the thing that the PGA Tour, I think, is most hoping for.”
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June is Lesbian, Gay, Bisexual, Transgender and Queer Pride Month. In the Western U.S. state of Colorado, multimedia artists are exploring the intersections of gender identity and disability. VOA’s Scott Stearns has the story from Denver. WARNING: The video contains a brief depiction of nudity.
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“A Strange Loop,” an irreverent, sexually frank work about Blackness and queerness took home the best new musical crown at the Tony Awards on Sunday, as voters celebrated Broadway’s most racially diverse season by choosing an envelope-pushing Black voice.

Michael R. Jackson’s 2020 Pulitzer Prize drama winner is a theater meta-journey — a tuneful show about a Black gay man writing a show about a Black gay man. Jackson also won for best book. Many of the night’s other Tonys were spread over several productions.

The victory of a smaller, more offbeat musical against more commercial offerings continues a recent trend, as when the intimate musical “The Band’s Visit” beat the big brand-musicals “Frozen,” “Mean Girls” and “SpongeBob SquarePants” in 2018 or when “Hadestown” bested “Tootsie,” “Beetlejuice” and “Ain’t Too Proud” a year later.

“A Strange Loop” beat “MJ,” a bio musical of the King of Pop’s biggest hits, for the top prize, although the other Jackson musical nabbed four Tony Awards including for best choreography. Myles Frost moonwalked away with the award for best lead actor in a musical for playing Michael Jackson, becoming the youngest solo winner in that category. “Mom, I made it!” he said.

“MJ” represents the 22-year-old Frost’s Broadway debut as he plays Jackson with a high, whispery voice, a Lady Diana-like coquettishness and a fierce embrace of Jackson’s iconic dancing and singing style. “Heal the world,” Frost said from the stage, channeling Jackson.

Joaquina Kalukango won the Tony for best leading actress in a musical for her work in “Paradise Square,” a show about Irish immigrants and Black Americans jostling to survive in New York City around the time of the Civil War. Earlier in the night, she blew the house down with a stunning performance of the musical’s “Let It Burn.”

A gender-swapped revival of Stephen Sondheim’s “Company” rode the fondness Broadway has for the late iconic composer by earning five statuettes, including best musical revival. 

“Company” is an exploration of a single person’s conflicted feelings about commitment, traditionally focusing on a 35-year-old bachelor. This time, it had a bachelorette and the sexes of several couples were swapped.

Marianne Elliott made Tony history by becoming the only woman to have won three Tonys for directing, the latest for “Company.” She thanked Sondheim for letting her put a woman “front and center.” She dedicated her award to everyone fighting to keep theaters open. 

Patti LuPone won best featured actress in a musical for her work in the revival, thanking COVID-19 safety officials in her acceptance speech. Matt Doyle won for best featured actor in a musical for “Company.”

“The Lehman Trilogy,” spanning 150 years and running three and a half hours, follows the fortunes of a single family into the financial crash of 2008. It was crowned best new play and Sam Mendes won for best direction of a play, praising the season for its “rampant creativity.” One of its three stars, Simon Russell Beale, won for best actor in a play and thanked the audience for coming to see a trio of British actors tell a New York story.

Deirdre O’Connell won for best actress in a play for her work in “Dana H.,” about a real woman kidnapped by a former convict and white supremacist. O’Connell never speaks, instead, lip-syncing to an edited recording of the survivor. On Sunday, O’Connell urged the crowd to ignore safe options and “make the weird art.”

“Take Me Out” won for best play revival, and “Modern Family” star Jesse Tyler Ferguson won the Tony for best featured actor in a play for his work in it. “Mom, Dad, thank you for letting me move to New York when I was 17-years-old. I told you it would be OK,” said Ferguson, who also thanked his understudy and his husband.

Host Ariana DeBose kicked off her portion of the show in a sparkling white jumpsuit and wide-brimmed hat, dancing and singing to the song “This Is Your Round of Applause,” which mashed up shards of musical theater favorites, like “Chicago, “The Wiz,” “Evita,” “Rent,” “Hair,” “Cabaret,” “Hairspray” and “West Side Story,” the movie remake for which she recently won an Oscar.

Still panting while welcoming viewers, she told the crowd that this was the season “Broadway got it’s groove back.”

Phylicia Rashad won best featured actress in a play for “Skeleton Crew.” The Dominique Morisseau play is about blue-collar job insecurity set in a Detroit auto stamping plant. “It’s wonderful to present humanity in all it’s fullness,” Rashad said.

And the Tonys ushered in the latest EGOT winner: Jennifer Hudson, who has an Emmy, Grammy and Oscar, and joined that elite group Sunday when “A Strange Loop” won best musical — she’s a producer.

A starry revival of the classic show “The Music Man” with Hugh Jackman and Sutton Foster walked away empty-handed despite six nominations and being a box office smash, regularly pulling in more than $3 million a week.

The season was marked by the embrace of seven Black playwrights, from contemporary writers like Dominique Morisseau, Keenan Scott II and Antoinette Nwandu, to underappreciated historical playwrights like Alice Childress and Ntozake Shange. DeBose said Broadway was more representative.

DeBose celebrated the Black voices and onstage talent — as well as noting that two Broadway theaters were being renamed for Black icons James Earl Jones and Lena Horne — saying that The Great White Way was now a nickname “as opposed to a how-to guide.”

DeBose also hailed the heroic efforts of understudies, swings and standbys to keep shows going throughout pandemic spikes, noting that she and many other Tony nominees had once been unheralded understudies and swings. After the cast of “Six” performed, DeBose noted that one was a fill-in at the last minute. 

Having been freed of handling the technical awards, the main telecast had a less frantic, more airy feel. DeBose was an assured, funny and versatile host, one who roamed the seats, sat in Andrew Garfield’s lap, danced with Sam Rockwell and prompted Laurence Fishburne to do a Daffy Duck imitation. She closed the show with a medley of the musical nominees, at one point making “MJ” part of the Dylan show: “You’ve been hit by/A rolling stone.”

Some of the show highlights included the massive cast of “The Music Man” filling the massive Radio City stage with “Seventy-Six Trombones,” as well as Prince Jackson and Paris Jackson introducing the show about their father before the “MJ” cast danced to an energetic “Smooth Criminal.”

Billy Crystal taught the crowd “Yiddish scatting,” and the original cast of the 2007 Tony-winning musical “Spring Awakening” — including Lea Michele and Jonathan Groff — reunited for a performance.

Many acceptance speeches thanked the audiences for braving spikes in COVID-19 to come to see shows, and Marsha Gay Harden cheered 150 safety officers invited as guests to the Tonys.

Earlier, Darren Criss and Julianne Hough kicked off the four-hour awards, handing out mostly design awards. Criss opened the telecast with the original song, “Set the Stage,” as he and Hough energetically danced up ladders, on laundry hampers and in sliding theater seats to celebrate the artists who keep theater alive.

The first award of the night — for best score — went to “Six: The Musical,” with music and lyrics by Toby Marlow and Lucy Moss. Marlow became the first out nonbinary composer-lyricist to win a Tony. “Six: The Musical” also picked up the award for best costumes for a musical.

The season — with 34 new productions — represents a full return to theaters after nearly two years of a pandemic-mandated shutdown. At the last Tonys nine months ago, the winners were pulled from just 18 eligible plays and musicals, and many of the competitive categories were depleted.

Sondheim, the iconic composer who died in late 2021, was honored in a special segment by Bernadette Peters singing his song “Children Will Listen.” Angela Lansbury, who was honored with a lifetime achievement Tony, wasn’t present so her “Sweeney Todd” co-star Len Cariou accepted on her behalf.
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Darren Criss and Julianne Hough kicked off the four-hour Tony Award celebrations at Radio City Music Hall on Sunday night, handing out mostly design awards exclusively on the streaming Paramount+. 

Criss opened the telecast with the original song, “Set the Stage,” as he and Hough energetically danced up ladders, on laundry hampers and in sliding theater seats to celebrate the artists who keep theater alive. 

The first award of the night — for best score — went to “Six: The Musical,” with music and lyrics by Toby Marlow and Lucy Moss. Marlow is the first out nonbinary composer-lyricist to win a Tony. 

Criss and Hough have an hour to hand out a total of eight technical awards for things such as best lighting and sound design, along with best score, orchestrations and choreography. They will then pass hosting duties to Ariana DeBose for the main three-hour telecast on CBS and Paramount+ from the same stage, live coast to coast for the first time. 

The season — with 34 new productions — represents a full return to theaters after nearly two years of a pandemic-mandated shutdown. At the last Tonys nine months ago, the winners were pulled from just 18 eligible plays and musicals, and many of the competitive categories were depleted. 

DeBose, the Tony-nominated theater veteran and freshly minted Oscar winner for “West Side Story,” said Broadway is due for a party. 

“I feel like if there was ever the time, the time is now,” she said. “I think it’s a triumph to have simply made it to this point, to have made art and to have a show.” 

The telecast will have performances from this year’s Tony Award-nominated musicals, including “A Strange Loop,” “Company,” “Girl from the North Country,” “MJ,” “Mr. Saturday Night,” “Music Man,” “Paradise Square” and “Six.” The original cast members of the 2007 Tony-winning musical “Spring Awakening” will also reteam and perform. 

“A Strange Loop,” a theater meta-journey about a playwright writing a musical, goes into the show with a leading 11 Tony nominations. Right behind with 10 nominations each is “MJ,” a bio musical of the King of Pop stuffed with his biggest hits, and “Paradise Square,” a musical about Irish immigrants and Black Americans jostling to survive in New York City around the time of the Civil War. 

Front-runners for best actress in a musical are Sharon D Clarke from the revival of “Caroline, or Change” and Joaquina Kalukango of “Paradise Square.” The best actor in a musical may come down to Jaquel Spivey from “A Strange Loop” versus Myles Frost as the King of Pop in “MJ the Musical.” 

“The Lehman Trilogy,” Stefano Massini’s play spanning 150 years about what led to the collapse of financial giant Lehman Brothers, is the leading best new play contender, while David Morse in a revival of Paula Vogel’s “How I Learned to Drive” is the leading contender as best actor in a play. His co-star, Mary-Louise Parker, could become the first actor to receive consecutive Tonys for best actress in a play. 
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An exhibition at the Smithsonian’s National Museum of Asian Art is showcasing a sculpture of a Hindu god that was carved into a Cambodian mountain around year 600. VOA’s Chetra Chap reports on the importance of this Hindu sculpture to a nation that is now primarily Buddhist.
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Favorite Mo Donegal romped to victory at the 154th Belmont Stakes on Saturday while Rich Strike, the longshot winner of the Kentucky Derby could not pull off another surprise at Elmont, New York. 

Mo Donegal, fifth at the Kentucky Derby, settled in midpack for much of the mile-and-a-half race then made his move coming onto the home stretch. 

Under jockey Irad Ortiz Jr.’s urging Mo Donegal powered away from the field coming home ahead of stable mate Nest to give trainer Todd Pletcher a 1-2 finish and a fourth Belmont win. 

Skippylongstocking finished third. 

“This has been a dream I’ve had for 40 years,” said Mo Donegal owner Mike Repole, a native New Yorker. “This is New York’s biggest race, and to win it here, with family, friends, I’m sort of overwhelmed.” 

Rich Strike had given up a shot at the Triple Crown when owner Rick Dawson decided to skip the second jewel, the Preakness Stakes, in order to rest the chestnut colt for the Belmont marathon known as the “test of a champion.” 

At 80-1 odds Rich Strike was one of the greatest longshots to win the Kentucky Derby but no one was overlooking the chestnut colt on Saturday going off as second favorite. 

The distance proved too much as Rich Strike spent most of the race trailing the eight-horse field finishing sixth. 

“Our biggest change today was that we decided to stay a little out, off the rail and try to give him a good open run when he would take off,” said Rich Strike trainer Eric Reed. “He is a routine horse, and this is the first time he has not been on the inside rail. 

“The whole way. If you watch, his head turned he’s trying to get to the inside I guess we made a mistake not putting him on the fence.” 
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Although the war in Ukraine has entered its fourth month, local artists have not stopped working. For many Ukrainians, art during the wartime is a powerful tool that helps people stay strong and inspired. Omelyan Oshchudlyak has the story.
Video Editor: Yuriy Dankevych
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British prosecutors said on Wednesday they had authorized charges to be brought against former Hollywood movie producer Harvey Weinstein on two counts of indecent assault against a woman 26 years ago.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Such worries are also felt by historians like Truschke.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘Elvis Pink Caddy’

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

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

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

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

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

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

“I did the whole day Sunday, 22 ceremonies. I’ve done more than 30 in one day, 100 in a week, all of those Elvis-themed.”
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Afghan and Pakistani artists held a protest in front of press club in Peshawar, Pakistan, against the crackdown on Afghan artists who fled their country after the Taliban’s takeover. Muska Safi has more from Peshawar in this report, narrated by Nazrana Yousufzai. Contributors: Nazrana Yousufzai, Roshan Noorzai
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The Special Olympics has dropped a coronavirus vaccine mandate for its games in Orlando after Florida moved to fine the organization $27.5 million for violating a state law against such rules. 

Republican Governor Ron DeSantis on Friday announced the organization had removed the requirement for its competition in the state, which is scheduled to run June 5-12. 

“In Florida, we want all of them to be able to compete. We do not think it’s fair or just to be marginalizing some of these athletes based on a decision that has no bearing on their ability to compete with honor or integrity,” DeSantis said at a news conference in Orlando. 

The Florida health department notified the Special Olympics of the fine in a letter Thursday that said the organization would be fined $27.5 million for 5,500 violations of state law for requiring proof of coronavirus vaccination for attendees or participants. 

Florida law bars businesses from requiring documentation of a COVID-19 vaccination. DeSantis has strongly opposed vaccine mandates and other virus policies endorsed by the federal government. 

In a statement on its website, the Special Olympics said people who were registered but unable to participate because of the mandate can now attend. 

 
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Harini Logan was eliminated from the Scripps National Spelling Bee once, then reinstated. She missed four words in a grueling standoff against Vikram Raju, including one that would have given her the title.

In the first-ever lightning-round tiebreaker, Harini finally claimed the trophy.

The 13-year-old eighth grade student from San Antonio, Texas, who competed in the last fully in-person bee three years ago and endured the pandemic to make it back, spelled 21 words correctly during a 90-second spell-off, beating Vikram by six.

Harini, one of the best-known spellers entering the bee and a crowd favorite for her poise and positivity, wins more than $50,000 in cash and prizes.

Perhaps no champion has ever had more final-round flubs, but Harini was no less deserving.

She is the fifth Scripps champion to be coached by Grace Walters, a former speller, fellow Texan and student at Rice University who is considering bowing out of the coaching business. If so, she will depart on top.

The key moment came during the bee’s much-debated multiple-choice vocabulary round, when Harini defined the word “pullulation” as the nesting of mating birds. Scripps said the correct answer was the swarming of bees.

But wait!

“We did a little sleuthing after you finished, which is what our job is, to make sure we’ve made the right decision,” head judge Mary Brooks said to Harini. “We (did) a little deep dive in that word and actually the answer you gave to that word is considered correct, so we’re going to reinstate you.”

From there, Harini breezed into the finals against Vikram. They each spelled two words correctly. Then Scripps brought out the toughest words of the night.

Both misspelled. Then Vikram missed again and Harini got “sereh” right, putting her one word away from the title. The word was “drimys,” and she got it wrong.

Two more rounds, two more misspelled words by each, and Scripps brought out the podium and buzzer for the lightning round that all the finalists had practiced for in the mostly empty ballroom hours earlier.

Harini was faster and sharper throughout, and the judges’ final tally confirmed her victory.

The last fully in-person version of the bee had no tiebreaker and ended in an eight-way tie. The 2020 bee was canceled because of the pandemic, and in 2021 it was mostly virtual, with only 11 finalists gathering in Florida as Zaila Avant-garde became the first Black American champion.

The changes continued this year with Scripps ending its deal with longtime partner ESPN and producing its own telecast for its networks ION and Bounce, with actor and literacy advocate LeVar Burton as host. The transition was bumpy at times, with long and uneven commercial breaks that broke up the action and audio glitches that exposed the inner workings of the broadcast to the in-person crowd.

The bee itself was leaner, with fewer than half the participants it had in 2019 because of sponsors dropping out and the end of a wild-card program. And spellers had to answer vocabulary questions live on stage for the first time, resulting in several surprising eliminations during the semifinals.

Harini bowing out on a vocabulary word was briefly the biggest shock of all. Then she was back on stage, and at the end, she was still there.
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In Mogadishu, a group of young filmmakers are hoping to take their vision to the world. VOA’s Abdulkadir Zubeyr reports.
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Queen Elizabeth II will make two appearances on the Buckingham Palace balcony on Thursday, kicking off four days of public events to mark her historic Platinum Jubilee.

The extent of the 96-year-old monarch’s involvement in the celebrations for her record-breaking 70 years on the throne has been a source of speculation for months.

She has cut back drastically on her public appearances since last year because of difficulties standing and walking — and a bout of COVID-19.

But royal officials confirmed that she would take the salute of mounted troops from the balcony after a military parade called Trooping the Colour.

The centuries-old ceremony to officially mark the sovereign’s birthday has previously seen the queen take the salute on horseback herself.

Her 73-year-old son and heir, Prince Charles, will step in this year, supported by his sister, Princess Anne, 71, and his eldest son, Prince William, 39.

Joining senior royals watching the display of military precision will be Charles’ younger son, Prince Harry, and his wife, Meghan, on a rare visit from California, Buckingham Palace confirmed.

But the queen’s disgraced second son, Prince Andrew, 62, is not expected to join them.

She will return to the balcony later to watch a flyby of military aircraft, including iconic models from World War II, the palace said.

At nightfall, the queen will be at Windsor Castle, west of London, to take part in a ceremony to light more than 3,000 beacons across the country and the Commonwealth of 54 nations that she heads.

Parties, parades, concerts

 

Elizabeth was a 25-year-old princess when she succeeded her father, King George VI in 1952, bringing a rare touch of glamour to a battered nation still enduring food rations after World War II.

Seventy years on, she is now the only monarch most Britons have ever known, becoming an enduring figurehead through often troubled times.

Britain’s first and very likely only Platinum Jubilee will see street parties, pop concerts and parades until Sunday in potentially the last major public celebration of the queen’s long reign.

It has not yet been confirmed if she will attend a thanksgiving service at St Paul’s Cathedral on Friday, while her planned attendance at horse racing showcase The Derby on Saturday is off.

She could yet put in a final appearance — again from the palace balcony — on Sunday, at the climax of a huge public pageant involving 6,000 performers.

In a message, the queen thanked everyone involved in organizing the community events in Britain and around the world.

“I know that many happy memories will be created at these festive occasions,” she said.

“I continue to be inspired by the goodwill shown to me, and hope that the coming days will provide an opportunity to reflect on all that has been achieved during the last 70, as we look to the future with confidence and enthusiasm.”

Attention turning to succession

The jubilee, held against a backdrop of rising inflation that has left many Britons struggling, is being seen not just as respite for the public after two years scarred by the pandemic but also for the royals.

Harry, 37, and Meghan, 40, caused shockwaves in early 2020 by moving to North America, from where they have publicly criticized royal life.

In April last year, she lost her husband of 73 years, Prince Philip, and was forced to sit alone at his funeral because of coronavirus restrictions.

Since then, she has struggled with her health and also the fallout from Andrew’s links to the convicted sex offenders Jeffrey Epstein and Ghislaine Maxwell.

Andrew, who in February settled a U.S. civil claim for sexual assault, has effectively been fired from his royal duties.

Attention is increasingly turning to the succession, and the monarchy’s future at home and in the 14 other Commonwealth countries where the queen is also head of state.

Her approval rating among Britons remains high at 75%, according to a poll by YouGov published Wednesday, but Charles is only at 50%.

A total of 62% still want a monarchy, although younger people are split, with 33% in favor, and 31% wanting a republic.

Only 39% said they thought there would still be a monarch in 100 years’ time.
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A jury on Wednesday ruled in favor of Johnny Depp in his libel lawsuit against ex-wife Amber Heard, vindicating his stance that Heard fabricated claims that she was abused by Depp before and during their brief marriage. 

The jury also found in favor of Heard, who said she was defamed by Depp’s lawyer when he called her abuse allegations a hoax. 

Jury members found Depp should be awarded $10.35 million in damages, while Heard should receive $2 million. 

The verdicts bring an end to a televised trial that Depp had hoped would help restore his reputation, though it turned into a spectacle of a vicious marriage. Throughout the trial, fans — overwhelmingly on Depp’s side — lined up overnight for coveted courtroom seats. Spectators who couldn’t get in gathered on the street to cheer Depp and jeer Heard whenever either appeared outside. 

Depp sued Heard for libel in Fairfax County Circuit Court over a December 2018 op-ed she wrote in The Washington Post describing herself as “a public figure representing domestic abuse.” His lawyers said he was defamed by the article even though it never mentioned his name. 

While the case was ostensibly about libel, most of the testimony focused on whether Heard had been physically and sexually abused, as she claimed. Heard enumerated more than a dozen alleged assaults, including a fight in Australia — where Depp was shooting a “Pirates of the Caribbean” sequel — in which Depp lost the tip of his middle finger, and Heard said she was sexually assaulted with a liquor bottle. 

Depp said he never hit Heard and that she was the abuser, though Heard’s attorneys highlighted years-old text messages Depp sent apologizing to Heard for his behavior, as well as profane texts he sent to a friend in which Depp said he wanted to kill Heard and defile her dead body. 

In some ways, the trial was a replay of a lawsuit Depp filed in Britain against a British tabloid after he was described as a “wife beater.” The judge in that case ruled in the newspaper’s favor after finding that Heard was telling the truth in her descriptions of abuse. 

In the Virginia case, Depp had to prove not only that he never assaulted Heard, but that Heard’s article — which focused primarily on public policy related to domestic violence — defamed him. He also had to prove that Heard wrote the article with actual malice. And to claim damages he had to prove that her article caused damage to his reputation as opposed to any number of articles before and after Heard’s piece that detailed the allegations against him. 

Depp, in his final testimony to the jury, said the trial gave him a chance to clear his name in a way the British trial never allowed. 

“No matter what happens, I did get here, and I did tell the truth, and I have spoken up for what I’ve been carrying on my back, reluctantly, for six years.” Depp said. 

Heard, on the other hand, said the trial has been an ordeal inflicted by an orchestrated smear campaign led by Depp. 

“Johnny promised me — promised me — that he’d ruin my life, that he’d ruin my career. He’d take my life from me,” Heard said in her final testimony. 

The case captivated millions through its gavel-to-gavel television coverage and impassioned followers on social media who dissected everything from the actors’ mannerisms to the possible symbolism of what they were wearing. Both performers emerge from the trial with reputations in tatters with unclear prospects for their careers. 

Eric Rose, a crisis management and communications expert in Los Angeles, called the trial a “classic murder-suicide.” 

“From a reputation management perspective, there can be no winners,” he said. “They’ve bloodied each other up. It becomes more difficult now for studios to hire either actor because you’re potentially alienating a large segment of your audience who may not like the fact that you have retained either Johnny or Amber for a specific project because feelings are so strong now.” 

Depp, a three-time best actor Oscar nominee, had until recent years been a bankable star. His turn as Captain Jack Sparrow in the “Pirates of the Caribbean” film helped turn it into a global franchise, but he’s lost that role. (Heard’s and Depp’s teams each blame the other.) He was also replaced as the title character in the third “Fantastic Beasts” spin-off film, “The Crimes of Grindelwald.” 

Despite testimony at the trial that he could be violent, abusive and out of control, Depp received a standing ovation Tuesday night in London after performing for about 40 minutes with Jeff Beck at the Royal Albert Hall. He has previously toured with Joe Perry and Alice Cooper as the group Hollywood Vampires. 

Heard’s acting career has been more modest, and her only two upcoming roles are in a small film and the upcoming “Aquaman” sequel due out next year. 

Depp’s lawyers fought to keep the case in Virginia, in part because state law provided some legal advantages compared with California, where the two reside. A judge ruled that Virginia was an acceptable forum for the case because The Washington Post’s printing presses and online servers are in the county. 

 
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