“Law & Order: Special Victims Unit” has just been renewed for its 25th season. It is the longest-running prime-time drama on U.S. television. The show’s lead character, Captain Olivia Benson, played by Mariska Hargitay, has become such a fixture in American life she was recently honored by the Smithsonian’s National Museum of American History. VOA’s Maxim Adams reports. Videographer: Aleksandr Bergan
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Singapore — Pope Francis wrapped up an arduous 12-day tour of the Asia-Pacific on Friday, defying health concerns to connect with believers from the jungle of Papua New Guinea to the skyscrapers of Singapore.

The 87-year-old pontiff flies home to Rome from Singapore, completing his longest trip in duration and distance since he became head of the world’s estimated 1.4 billion Roman Catholics more than 13 years ago.

The Argentine pope has relied on a wheelchair since 2022 because of knee pain and sciatica. He had a hernia operation in June 2023, and earlier this year he battled flu and bronchitis.

Occasionally, during his four-nation trip, the pope struggled to keep his eyes open when listening to late-night liturgical readings or to remain engaged during formal military parades.

But he was clearly energized by more freewheeling exchanges — cheerfully goading young people to shout out their agreement with his calls to help those in need.

In a lively final inter-religious meeting with young Singaporeans, the pope urged them to respect other beliefs, avoid being slaves to technology and to get out of their comfort zones.

“Don’t let your stomach get fat, but let your head get fat,” the pope said, raising a laugh from his audience.

“I say take risks, go out there,” he said. “A young person that is afraid and does not take risks is an old person.”

The historic tour, initially planned for 2020 but postponed by the COVID-19 pandemic, has included 43 hours of flight time and a distance of 32,000 kilometers.

But neither the pace — 16 speeches and up to eight hours of time difference — nor the heat, nor multiple meetings have forced any rescheduling of his international odyssey.

On a trip that took him to the outer edges of the church’s world, the pope delivered a sometimes uncomfortable message for leaders not to forget the poor and marginalized.

In Indonesia, the world’s most populous Muslim-majority state, he visited the Istiqlal Mosque to deliver a joint message against conflict and climate change.

In sweltering Papua New Guinea, he donned a bird of paradise headdress in a remote, jungle village where he told inhabitants to halt violence and renounce “superstition and magic.”

Addressing political and business leaders, he insisted that the country’s vast natural resources should benefit the entire community — a demand likely to resound in a nation where many believe their riches are being stolen or squandered.

And in staunchly Roman Catholic East Timor, he addressed nearly half the population, drawing about 600,000 rapturous believers in the tropical heat to a celebration of mass on the island’s coast.

Francis addressed East Timor’s leaders, hailing a new era of “peace” since independence in 2002.

But he also called on them to do more to prevent abuse against young people, in a nod to recent Catholic Church child abuse scandals.

In the affluent city-state of Singapore, the pope called for “special attention” to be paid to protecting the dignity of migrant workers.

“These workers contribute a great deal to society and should be guaranteed a fair wage,” he said.

There are an estimated 170 million migrant workers around the world. Most live in the Americas, Europe or Central Asia.

But the Argentine pope was otherwise full of praise for the “entrepreneurial spirit” and dynamism that built a “mass of ultra-modern skyscrapers that seem to rise from the sea” in his final destination.

Sandra Ross, 55, a church administrator in Singapore, said she was still “feeling the warmth and joy” after attending mass led by the pope.

“I was deeply touched by Pope Francis’ courage and dedication to his mission, despite his health challenges. His spirit and enthusiasm are truly inspiring,” she said.
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One Washington teacher’s attempt to help one student has turned into something much larger. VOA’s Philip Alexiou has this story of a chess academy for kids. (Camera and produced by: Philip Alexiou)
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NEW YORK — He had some help: Morgan Wallen tops the 2024 Country Music Association Awards nominations with seven.

For a third year in a row, Wallen is up for both the top prize — entertainer of the year — and the male vocalist categories.

Rounding out the entertainer of the year categories are Luke Combs, Jelly Roll, Chris Stapleton and Lainey Wilson.

Post Malone’s massive radio hit, “I Had Some Help,” which features Wallen, is the main reason why the country singer leads the pack this year. It is up for single, song, musical event and music video of the year. His last nomination is a second one in the musical event category, for his collaboration with Eric Church, “Man Made a Bar.”

Single of the year is awarded to the artist, producer and mix engineers; song of the year is given to the songwriters.

Ahead of the nominations announcement, some fans speculated that Beyoncé, whose landmark country-and-then-some reclamation Cowboy Carter was released during the eligibility window, could receive a nomination at the 2024 CMAs. She did not.

Earlier this year, the album hit No. 1 on the Billboard country albums chart, making her the first Black woman to top the chart since its 1964 inception.

The album was five years in the making, a direct result of what Beyoncé has called “an experience that I had years ago where I did not feel welcomed … and it was very clear that I wasn’t,” most likely a reference to a 2016 CMAs performance that resulted in racist backlash.

The CMA Awards are nominated and voted on by members of the Country Music Association, which includes music executives, artists, publicists, songwriters and other industry professionals.

Wallen is followed by both Cody Johnson, who is also nominated in the male vocalist category for the third year in a row, and 7-time male vocalist of the year winner, Stapleton.

Stapleton and Johnson have five nominations each.

But Stapleton could take home seven trophies, should he sweep his categories.

Stapleton is both an artist and producer on “White Horse,” up for single of the year, and Higher, up for album of the year.

At the CMAs, production credits are not counted as separate nominations, although they are factored into trophy counts.

First-time nominee Post Malone and Wilson, last year’s entertainer of the year winner, are tied with four nominations. All of Malone’s nominations are for “I Had Some Help.”

Louis Bell, Charlie Handsome and Hoskins are tied with three nominations for their work as producers and co-writers on “I Had Some Help.”

Jelly Roll, Combs, Kacey Musgraves and Megan Moroney also boast three nods each. The latter three could take home four trophies: Combs is both artist and producer on Fathers & Sons, up for album of the year. The same is true for Musgraves’ album Deeper Well.

And Moroney is both artist and director of her nominated music video, “I’m Not Pretty.”

The CMA Awards will air on November 20 on ABC at 8 p.m. Eastern. It can be streamed the next day on Hulu.
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NEW YORK — James Earl Jones, who overcame racial prejudice and a severe stutter to become a celebrated icon of stage and screen — eventually lending his deep, commanding voice to CNN, The Lion King and Darth Vader — has died. He was 93.

His agent, Barry McPherson, confirmed Jones died Monday morning at home in New York’s Hudson Valley region. The cause was not immediately clear.

The pioneering Jones, who was one of the first African American actors in a continuing role on a daytime drama and worked deep into his 80s, won two Emmys, a Golden Globe, two Tony Awards, a Grammy, the National Medal of Arts, the Kennedy Center Honors and was given an honorary Oscar and a special Tony for lifetime achievement. In 2022, a Broadway theater was renamed in his honor.

He cut an elegant figure late in life, with a wry sense of humor and a ferocious work habit. In 2015, he arrived at rehearsals for a Broadway run of The Gin Game having already memorized the play and with notebooks filled with comments from the creative team. He said he was always in service of the work.

“The need to storytell has always been with us,” he told The Associated Press then. “I think it first happened around campfires when the man came home and told his family he got the bear, the bear didn’t get him.”

Jones created such memorable film roles as the reclusive writer coaxed back into the spotlight in Field of Dreams, the boxer Jack Johnson in the stage and screen hit The Great White Hope, the writer Alex Haley in Roots: The Next Generation and a South African minister in Cry, the Beloved Country.

He was also a sought-after voice actor, expressing the villainy of Darth Vader (“No, I am your father,” commonly misremembered as “Luke, I am your father”), as well as the benign dignity of King Mufasa in Disney’s animated The Lion King and announcing “This is CNN” during station breaks. He won a 1977 Grammy for his performance on the Great American Documents audiobook.

“If you were an actor or aspired to be an actor, if you pounded the payment in these streets … one of the standards we always had was to be a James Earl Jones,” Samuel L. Jackson once said.

Some of his other films include Dr. Strangelove, The Greatest (with Muhammad Ali), Conan the Barbarian, Three Fugitives and playing an admiral in three Tom Clancy blockbuster adaptations — The Hunt for Red October, Patriot Games and Clear and Present Danger. In a rare romantic comedy, Claudine, Jones had an onscreen love affair with Diahann Carroll.

Jones made his Broadway debut in 1958’s Sunrise At Campobello and would win his two Tony Awards for The Great White Hope (1969) and Fences (1987). He also was nominated for On Golden Pond (2005) and Gore Vidal’s The Best Man (2012). He was celebrated for his command of Shakespeare and Athol Fugard alike. More recent Broadway appearances include Cat on a Hot Tin Roof, Driving Miss Daisy, The Iceman Cometh, and You Can’t Take It With You.

As a rising stage and television actor, he appeared in As the World Turns in 1965, one of the first Black actors to have such a role on daytime TV. He performed with the New York Shakespeare Festival Theater in Othello, Macbeth and King Lear and in off-Broadway plays.

Early years

Jones was born by the light of an oil lamp in a shack in Arkabutla, Mississippi, on Jan. 17, 1931. His father, Robert Earl Jones, had deserted his wife before the baby’s arrival to pursue life as a boxer and, later, an actor.

When Jones was 6, his mother took him to her parents’ farm near Manistee, Michigan. His grandparents adopted the boy and raised him.

“A world ended for me, the safe world of childhood,” Jones wrote in his autobiography, Voices and Silences. “The move from Mississippi to Michigan was supposed to be a glorious event. For me it was a heartbreak, and not long after, I began to stutter.”

Too embarrassed to speak, he remained virtually mute for years, communicating with teachers and fellow students with handwritten notes. A sympathetic high school teacher, Donald Crouch, learned that the boy wrote poetry, and demanded that Jones read one of his poems aloud in class. He did so faultlessly.

Teacher and student worked together to restore the boy’s normal speech. “I could not get enough of speaking, debating, orating — acting,” he recalled in his book.

At the University of Michigan, he failed a pre-med exam and switched to drama, also playing four seasons of basketball. He served in the Army from 1953 to 1955.

In New York, he moved in with his father and enrolled with the American Theater Wing program for young actors. Father and son waxed floors to support themselves while looking for acting jobs.

True stardom came suddenly in 1970 with The Great White Hope. Howard Sackler’s Pulitzer Prize-winning Broadway play depicted the struggles of Jack Johnson, the first Black heavyweight boxing champion, amid the racism of early 20th-century America. In 1972, Jones repeated his role in the movie version and was nominated for an Academy Award as best actor.

Jones’ two wives were also actors. He married Julienne Marie Hendricks in 1967. After their divorce, he married Cecilia Hart, best known for her role as Stacey Erickson in the CBS police drama Paris, in 1982. She died in 2016. They had a son, Flynn Earl, born in 1983.

No artist ‘has served America more’

In 2022, the Cort Theater on Broadway was renamed after Jones, with a ceremony that included Norm Lewis singing “Go the Distance,” Brian Stokes Mitchell singing “Make Them Hear You” and words from Mayor Eric Adams, Samuel L. Jackson and LaTanya Richardson Jackson.

“You can’t think of an artist that has served America more,” director Kenny Leon told the AP. “It’s like it seems like a small act, but it’s a huge action. It’s something we can look up and see that’s tangible.”

Citing his stutter as one of the reasons he wasn’t a political activist, Jones nonetheless hoped his art could change minds.

“I realized early on, from people like Athol Fugard, that you cannot change anybody’s mind, no matter what you do,” he told the AP. “As a preacher, as a scholar, you cannot change their mind. But you can change the way they feel.”
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Havana, Cuba — Socialist Cuba, the birthplace of salsa and other rhythms that have conquered the world, is now surrendering to the invasion of South Korean pop music.

Thirteen thousand kilometers of distance separate the Asian nation and the communist-run island, as well as a different language and cultural traditions. However, all of these barriers would seem to vanish in a split second thanks to K-pop’s infectious beat and elaborate choreography.

Korean popular music, or K-pop, has spread far and wide from its Asian roots as boy bands like BTS and NCT and their female counterpart Blackpink rival Taylor Swift for downloads and album sales globally.

But it was slow to catch on in Cuba, where salsa is king and internet speeds were glacial until recently.

On Saturday, far from Seoul, dozens of teenagers clad in plaid, prep school skirts, baggy bomber pants and heavy black eyeliner busted their best moves as images of the genre’s idols were projected on a large screen of a Havana dance club.

“K-pop has opened a new world to me,” said 24-year-old Fransico Piedra, who when not working with his father as a blacksmith dreams up meticulous dance steps. Known by his artistic name Ken he one day aspires to be a professional K-pop choreographer. “It’s a place where I can be myself, and share with friends the joy of laughter, song and dance.”

Many of the teenagers hope to follow in the footsteps of two Cuban groups — Limitless and LTX — that before the pandemic traveled to South Korea to partake in the K-POP World Festival, an annual talent competition.

K-pop — a catch all for musical styles ranging from R&B to rock — first penetrated the island when Cubans fell in love with South Korean soap operas about a decade ago. As internet speeds improved, and government controls eased, more young Cubans got online and started streaming videos like teenagers everywhere.

While Cuban kids may be mesmerized by K-pop, an older generation of leaders have had frostier ties to South Korea. The two countries only restored diplomatic relations that were severed following the 1959 Cuban revolution this year and have yet to exchange ambassadors.

Meanwhile, Cuba remains a staunch ally of North Korea, which views K-pop as a dangerous form of propaganda from a capitalist enemy with whom is has been locked in a military standoff since the 1950s.
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MIP Africa — an event that matches African film and TV creatives to the people and countries that produce their work, wrapped up last week [Sept. 4] with several signed deals. Industry members and legislators from film meccas worldwide attended the event, part of the larger Fame Week Africa conference for creative professionals. Reporter Vicky Stark has the story from Cape Town, South Africa.
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Beirut — At a shop nestled in a busy, crowded Beirut district, Hasan El-Makary is weighing out containers of warm, fragrant mufataka, a traditional sweet in the Lebanese capital that is rarely found in stores.  

“I’ve been in this shop for 50 years, but we started specializing in mufataka 30 years ago,” Makary said from the humble shop with its aging decor and low ceiling.  

A kind of rice pudding made with turmeric, tahini sesame paste, sugar and pine nuts, mufataka is traditional in Beirut but less known even outside the city.  

Makary, 73, said he used to sell other sweets but as demand grew for mufataka, he abandoned the rest and now he and his cousin – who is also his business partner – just make the yellow pudding.  

“At the beginning you add turmeric, that’s the main thing, then tahini, sugar and rice … we cook it slowly on fire,” he said.  

The rice must be soaked overnight, and Makary said he comes to the shop at 5:00 a.m. to make the dish, which takes around four hours and requires regular stirring.  

He said his father started making mufataka despite initially believing people would not pay money for a dish that is normally prepared at home.  

Plastic containers of the pudding, which is eaten with a spoon, dotted trays and tables across the shop, waiting for customers who peered through a window to place their order from the busy street outside.  

Customer Iman Chehab, 55, was picking up mufataka for her mother, who used to make it herself.  

“She is elderly now and she can’t stir … it takes a lot of work,” said Chehab, who works in human resources management.  

The dish is “something traditional for us who are from Beirut,” she told AFP. 

Places like Makary’s shop “are the old face of Beirut that we love and always want to remember,” she added.  

‘Heritage’ 

A few bustling neighborhoods away, Samir Makari, 35, is carrying on the family tradition.  

At a gleaming shop also selling Arabic sweets like baklava, Makari attends to a huge copper pot of mufataka behind the counter, stirring it with a long, wooden-handled implement.  

He weighs out and mixes the sugar, tahini paste and pine nuts in a second pot, later combining it all.  

Mufataka used to be made just once a year on the last Wednesday in April, with families gathering by the sea at Beirut’s public beach, father and son said.  

The occasion was “Job’s Wednesday,” a reference to the biblical figure also mentioned in the Koran and who is renowned for his patience, the younger Makari said, noting the virtue is also required for making mufataka.  

On the wall of his shop, which he runs with his brother, were photos of his father and his grandfather at work.  

He said he sometimes makes mufataka twice a day depending on demand, with some customers taking it outside Beirut to introduce it to those who do not know the dish.  

At the original store, the elder Makary said he was happy his children had kept up the tradition.  

Mufataka is part of “my heritage,” he said, and the family has “taken it from generation to generation.”
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NEW YORK — Belarusian Aryna Sabalenka beat American sixth seed Jessica Pegula 7-5, 7-5 in the U.S. Open women’s final on Saturday.

Sabalenka blocked out the wild cheers of the home crowd in Arthur Ashe Stadium to break Pegula in the final game and win her first title at Flushing Meadows.

A year after coming up short in the final, the second seed fought back from a break down in both sets to claim victory and fell to the court in her moment of triumph.

The 30-year-old Pegula had waited a long time to reach her first major final but could not match her opponent’s raw power despite the noisy backing of the New York crowd.

The roof on Arthur Ashe Stadium was closed because of heavy rain, and the players traded breaks twice as they settled into the stormy affair in front of a celebrity-packed house.

Sabalenka held her serve through a four-deuce 11th game and fought through a spine-tingling 12th, mixing precision at the net with her usual power from the baseline before breaking her opponent on the fifth set point.

Pegula struggled with her rackets throughout the match, complaining to her coaches as she seemed unable to find the right tension on her strings, and it looked as though she would not put up a fight in the second set when Sabalenka went 3-0 up.

But the American found another level and brought the fans to their feet when she won the next five games in a furious fight back.

Sabalenka leveled when she sent over a forehand winner that just kissed the line on break point in the 10th game and sought to bring a swift end to the contest, holding serve and then applying pressure from the baseline in the final game.

The tears flowed immediately for Sabalenka as she claimed her third Grand Slam title after winning the Australian Open twice, and she high-fived fans as she ran up the stands to share a joyful celebration with her team.
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VENICE, ITALY — Spanish director Pedro Almodovar’s first English-language movie “The Room Next Door,” which tackles the hefty themes of euthanasia and climate change, won the prestigious Golden Lion award at the Venice Film Festival on Saturday.

Starring Tilda Swinton and Julianne Moore, the film received an 18-minute standing ovation when it premiered at Venice earlier in the week — one of the longest in recent memory.

Almodovar is a darling of the festival circuit and was awarded a lifetime achievement award at Venice in 2019 for his bold, irreverent and often funny Spanish-language features.

He also won an Oscar in the best foreign language category for his 1999 film “All About My Mother.”

Now aged 74, he has decided to try his hand at English, focusing his lens on questions of life, death and friendship. Speaking after collecting his prize, he said euthanasia should not be blocked by politics or religion.

“I believe that saying goodbye to this world cleanly and with dignity is a fundamental right of every human being,” he said, speaking in Spanish.

He also thanked his two female stars for their performances.

“This award really belongs to them, it’s a film about two women and the two women are Julianne and Tilda,” he said.

While “The Room Next Door” had been widely tipped to win, the runner-up Silver Lion award was a surprise, going to Italian director Maura Delpero for her slow-paced drama set in the Italian Alps during World War Two — “Vermiglio.”

Australia’s Nicole Kidman won the best actress award for her risqué role in the erotic “Babygirl,” where she plays a hard-nosed CEO, who jeopardizes both her career and her family by having a toxic affair with a young, manipulative intern.

Kidman was in Venice on Saturday, but did not attend the awards ceremony after learning that her mother had died unexpectedly.

France’s Vincent Lindon was named best actor for “The Quiet Son,” a topical, French-language drama about a family torn apart by extreme-right radicalism.

Road to Oscars

The best director award went to American Brady Corbet for his 3-1/2 hour-long movie “The Brutalist,” which was shot on 70mm celluloid and recounts the epic tale of a Hungarian Holocaust survivor played by Adrien Brody, who seeks to rebuild his life in the United States.

“We have the power to support each other and tell the Goliath corporations that try and push us around: ‘No, it’s three-and-a-half hours long and it’s on 70mm,” he told the auditorium Saturday.

The festival marks the start of the awards season and regularly throws up big favorites for the Oscars, with eight of the past 12 best director awards at the Oscars going to films that debuted at Venice.

The prize for best screenplay went to Murilo Hauser and Heitor Lorega for “I’m Still Here,” a film about Brazil’s military dictatorship, while the special jury award went to the abortion drama “April,” by Georgian director Dea Kulumbegashvili.

Among the movies that left Venice’s Lido island empty-handed were Todd Phillips’s “Joker: Folie à Deux,” starring Joaquin Phoenix and Lady Gaga, the sequel to his original “The Joker” which claimed the top prize here in 2019.

Luca Guadagnino’s “Queer,” with Daniel Craig playing a gay drug addict, and Pablo Larrain’s Maria Callas biopic “Maria,” starring Angelina Jolie as the celebrated Greek soprano, also won plaudits from the critics but did not get any awards.

The Venice jury this year was headed by French actress Isabelle Huppert.
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Six years after Jifeng Bookstore was forced to close its doors in Shanghai, the shop has reopened in Washington to bring debate and literature to a new audience. Liam Scott has the story for VOA News. Videographer: Yi Ruokun
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RIO DE JANEIRO — Sergio Mendes, the celebrated Brazilian musician whose 1966 hit “Mas Que Nada” made him a global superstar and helped launch a long, Grammy-winning career, has died after months battling the effects of long COVID. He was 83.

The death Thursday of the Brazilian pianist, songwriter and arranger was confirmed in a statement by his family.

“His wife and musical partner for the past 54 years, Gracinha Leporace Mendes, was by his side, as were his loving children,” the statement said Friday. “Mendes last performed in November 2023 to sold out and wildly enthusiastic houses in Paris, London and Barcelona.”

Mendes was born in Niteroi, Rio de Janeiro’s sister city, and studied classical music at a conservatory before joining jazz groups. In the late 1950s and early 1960s, he began playing Bossa Nova as the genre was heating up in Rio’s nightclub scene with Antonio Carlos Jobim, Joao Gilberto and others.

In 1962, they traveled to New York for a Bossa Nova festival at Carnegie Hall. During the trip, Cannonball Adderley invited Mendes to collaborate on the album “Cannonball Adderley and The Bossa Rio Sextet,” leading to his first American record, “The Swinger from Rio,” after signing with Atlantic Records.

Two years later, Mendes moved to California and formed Brazil ’64, which evolved into Brazil ’66 after he added two female vocalists. The group’s debut album, produced by Herb Alpert, featured “Mas Que Nada.” Sung entirely in Portuguese, “Mas Que Nada” was a mid-tempo Samba number originally released in 1963 by composer Jorge Ben Sor and updated three years later by Mendes, who had been playing the song in clubs and gave it a jazzier, more hard-hitting feel.

“I put a band together called Brasil ’66,” he told The Guardian in 2019. “I’d always had instrumental groups, but when I added the two female singers — Lani Hall and Bibi Vogel — it made a different kind of sound. We recorded the song in Los Angeles, with me, the drums, bass and guitar all performing live.”

Mendes’ version was a worldwide hit that helped perpetuate the Brazilian music boom of the 1960s. In 2006, a modern version of the song topped U.S. charts, as performed by the Black Eyed Peas. It was included in his album “Timeless,” produced by will.i.am and also featuring Stevie Wonder, Justin Timberlake and John Legend, among others.

“Sergio Mendes was my brother from another country,” trumpet player Alpert wrote on Facebook, along with a photo from decades ago, sitting next to Mendes at the piano. “He was a true friend and extremely gifted musician who brought Brazilian music in all its iterations to the entire world with elegance.”

Mendes’ other hits were an eclectic blend ranging from covers of the Beatles’ “The Fool on the Hill” and “With a Little Help from My Friends,” to his own Brazilian chant, “Magalenha.” Mendes also composed the soundtrack for the film “Pele,” featuring saxophonist Gerry Mulligan, and even produced an album recorded by the great Brazilian soccer player.

Mendes won the 1992 Grammy Award for Best World Music Album for “Brasileiro” and two Latin Grammy Awards. He also received an Oscar nomination in 2012 for Best Original Song for “Real in Rio,” from the animated film “Rio.”

“Brazilian soul was there,” pianist, singer, and songwriter Marcos Valle told GloboNews about Mendes’ music. Valle also noted that it was Mendes who helped open doors for other Brazilian artists of his generation, including himself, to reach foreign audiences.
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Music cassette tapes are making a comeback in the U.S, with more than 430,000 sold in 2023 – about five times the number sold just a decade ago. Cassette tapes are especially popular with younger generations who grew up with digital music. Karina Bafradzhian has the story. Videographer: Sergii Dogotar
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LONDON — Disgraced Hollywood producer Harvey Weinstein won’t face charges of indecent assault in Britain, prosecutors announced on Thursday.

The Crown Prosecution Service, which in 2022 authorized two charges of indecent assault against Weinstein, said it decided to discontinue proceedings because there was “no longer a realistic prospect of conviction.”

“We have explained our decision to all parties,” the CPS said in a statement. ”We would always encourage any potential victims of sexual assault to come forward and report to police, and we will prosecute wherever our legal test is met.”

Weinstein became the most prominent villain of the #MeToo movement in 2017 when women began to go public with accounts of his behavior. After the revelations emerged, British police said they were investigating multiple allegations of sexual assault that reportedly took place between the 1980s and 2015.

In June 2022, the Crown Prosecution Service said it had authorized London’s Metropolitan Police Service to file two charges of indecent assault against Weinstein in relation to an alleged incident that occurred in London in 1996. The victim was in her 50s at the time of the announcement.

Unlike many other countries, Britain does not have a statute of limitations for rape or sexual assault.

Weinstein, who has denied that he raped or sexually assaulted anyone, remains in custody in New York while awaiting retrial in Manhattan, prosecutors said in August.

After the retrial, he is due to start serving a 16-year sentence in California for a separate rape conviction in Los Angeles, authorities said. Weinstein was convicted in Los Angeles in 2022 while already serving a 23-year sentence in New York.

His 2020 conviction in Manhattan was thrown out earlier this year when the state’s top court ruled that the judge in the original trial unfairly allowed testimony against Weinstein based on allegations that weren’t part of the case.

Weinstein, the co-founder of the Miramax entertainment company and The Weinstein Company film studio, was once one of the most powerful people in Hollywood, having produced films such as “Pulp Fiction” and “The Crying Game.”
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When people think about the US state of Texas, they often think of cowboys in big hats and pointy-toed boots. But Texas is more than that. A study found that its biggest city, Houston, is the most diverse large city in the US. This is reflected in the immigrants and the many cuisines and cultures they brought with them to Texas. VOA’s Elizabeth Lee reports.
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SEOUL, South Korea — An Apple TV+ documentary series, “K-pop Idols,” premiering Friday, offers an intimate look at how the K-pop industry is embracing diversity while grappling with challenges in a field that demands perfection.

The six-part series features Korean American star Jessi and up-and-coming K-pop bands like Cravity and Blackswan, documenting the highs and lows of their careers.

K-pop is known for its blend of vocals with precise choreography.

Blackswan members Fatou and Nvee told The Associated Press they practice up to 10 hours daily, including choreography and vocal sessions before the “comeback” season which refers to a string of events to promote their latest songs.

The grueling practice starts early.

Once under contract, K-pop trainees enter a system that includes classes in manners, language, dance, and choreography. As of 2022, there were 752 K-pop trainees under entertainment labels, according to a Korea Creative Content Agency report.

Despite recent pushback against the perennial “dark side of K-pop” narrative, the documentary shows that some industry problems persist.

Former Blackswan member Youngheun said members had a curfew and were not allowed to drink or date. “We even had to report when we were getting our nails done and going to the convenience store in front of our house,” she shared in the documentary.

Rigid control extends to diet.

Blackswan member Gabi is seen eating a meal of egg, chicken breast and what resembles sweet potato sticks during her trainee period. “I am dieting because Mr. Yoon [the label’s head] told me I need to lose weight,” Gabi said.

The pressure applies to boy bands, too.

Cravity member Wonjin shared that he was given two weeks to lose weight to join the label. “I would eat like one egg a day […] I lost about 7kg,” he said in the documentary.

Bradley Cramp, one of executive producers of the documentary, noted that such restrictions exist in other competitive industries as well.

“I honestly don’t know one idol or elite sports athlete or entertainer that doesn’t deal with the issue of diet and self-image and mental health to some degree or another,” he told The Associated Press.

The documentary also touches on K-pop’s new challenge: embracing diversity.

Following BTS’ international success, K-pop labels have been actively recruiting foreign talents, which sometimes brings unfamiliar challenges.

In the documentary, Yoon Deung Ryong, the founder of Blackswan’s label DR Music, struggles to settle internal conflicts among members, which later escalated to online clashes between fans.

“If the company says, ‘don’t fight,’ they won’t fight,” he said, referring to traditional K-pop groups. He added that he can’t control a “multinational group” the same way because of language and cultural differences. There are currently no Korean members in Blackswan after member changes.

With K-pop’s global expansion, fundamental questions remain about the essence of K-pop.

“In a K-pop group, if there are no Korean members, I feel like it’s just a K-pop cover group, isn’t it?” Blackswan’s former Korean member Youngheun said in the documentary.

However, Cravity’s Hyeongjun disagrees. “If foreigners come to Korea and sing in other languages, I am not sure if I can call that K-pop, but since they [Blackswan members] are active in Korea and use Korean, they are K-pop.”

Cramp said social media has impacted K-pop’s ecosystem in various ways, including creating a “symbiotic relationship” between K-pop stars and fans, and forcing stars to live their lives “under a microscope.”

“There’s a desire to be real. But on the other hand, you have to obviously keep certain things kind of out of the public spotlight,” he told the AP. “You want to be famous, but yet at the same time, you still want your privacy and you want to be able to go and have dinner with your friends and have a good time and not be filmed doing it.”

“K-Pop Idols” is now available on Apple TV+.
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NEW YORK — Parisa Imanirad, a scientist and cancer researcher from San Francisco, is married and has a wide circle of friends. But once or twice a week, she goes to a restaurant by herself.

Imanirad said dining alone gives her time to think or read. She tries not to touch her phone and relishes the silence. “It’s like a spa, but a different type,” Imanirad said during a recent solo lunch at Spruce, an upscale restaurant in San Francisco.

Imanirad isn’t alone in her desire to be alone. In the United States, solo dining reservations have risen 29% over the last two years, according to OpenTable, the restaurant reservation site. They’re up 18% this year in Germany and 14% in the United Kingdom.

Japan even has a special term for solo dining: “ohitorisama,” which means “alone” but with honorifics spoken before and after the word to make parties of one feel less hesitant. In a recent survey, Japan’s Hot Pepper Gourmet Eating Out Research Institute found that 23% of Japanese people eat out alone, up from 18% in 2018.

As a result, many restaurants in Japan and elsewhere are redoing their seating, changing their menus and adding other special touches to appeal to solo diners.

“Even so-called family restaurants are increasing counter seats for solitary diners, and restaurants are offering courses with smaller servings so a person eating alone gets a variety of dishes,” said Masahiro Inagaki, a senior researcher at the institute.

OpenTable CEO Debby Soo thinks remote work is one reason for the increase, with diners seeking respites from their home offices. But she thinks there are deeper reasons, too.

“I think there’s a broader movement of self-love and self-care and really … enjoying your own company,” Soo said.

The pandemic also made social interactions less feasible and therefore less important while eating out, said Anna Mattila, a professor of lodging management at Penn State University who has studied solo dining. And smartphones help some restaurant patrons feel connected to others even when they’re by themselves, she said.

“The social norms have changed. People don’t look at solo diners anymore and think, ‘You must be a loner,’” Mattila said.

More people live and travel solo

The growth comes as more people are living alone. In 2019, the Pew Research Center found that 38% of U.S. adults ages 25 to 54 were living without a partner, up from 29% in 1990. In Japan, single households now make up one-third of the total; that’s expected to climb to 40% by 2040, according to government data.

Increasing interest in solo travel — particularly among travelers ages 55 and over — is also leading to more meals alone.

On a recent solo trip to Lucerne, Switzerland, Carolyn Ray was stunned when the hostess led her to a beautiful lake-view table set for one, complete with a small vase of flowers. Ray, the CEO and editor of JourneyWoman, a website for solo women travelers over 50, said other restaurants have tried to seat her toward the back or pointedly asked if someone will be joining her.

Ray counsels women planning to dine alone to go somewhere else if they’re treated rudely or given a bad table.

“It’s almost like the world hasn’t caught up with this idea that we are on our own because we want to be on our own and we’re independent and empowered,” she said. “We can go into any restaurant we want and have a table for one and feel good about it.”

Shawn Singh, a Houston-based content creator and restaurant reviewer, said he eats alone about 70% of the time. If the idea of venturing out for a solitary meal is intimidating, he suggests going to lunch instead of dinner — when tables are usually more crowded with groups — or going early on a weekday.

“The best way to see a restaurant you’ve been wanting to see for a long time is definitely going solo,” Singh said. “If I go at 5 p.m. and alone, I haven’t been denied at one place ever.”

Restaurants aren’t always thrilled to seat a single diner at a table that could fit more. A Michelin-starred London restaurant, Alex Dilling at Hotel Cafe Royal, caused a stir last year when it started charging solo patrons the same price as two customers. Its eight-course dinner tasting menu, which includes caviar and Cornish squid, costs 215 pounds ($280) per person.

The restaurant, which has only 34 seats, didn’t respond to a request for comment. But its website doesn’t allow reservations for fewer than two people.

‘Playing the long game’

Other restaurants say it’s worth seating one person at a table made for two because solo diners tend to be loyal, repeat customers.

“While there may be a short-term loss there, I think we’re kind of playing the long game and establishing ourselves as a place that’s truly special,” said Drew Brady, chief operating officer at Overthrow Hospitality, which operates 11 vegan restaurants in New York.

Brady has seen an increase in solo diners since the pandemic, and says they’re evenly split between men and women. At the company’s flagship restaurant, Avant Garden, they make up as much as 8% of patrons.

In response, the restaurant teamed up with Lightspeed, a restaurant tech and consulting company, to develop a solo dining program. Avant Garden now has a spacious table designed for solo diners, with a $65 four-course menu fashioned like a passport to enhance the sense of adventure. If solo diners order a cocktail, a bartender mixes it tableside.

Mattila, at Penn State, said restaurants might want to consider additional changes. Her research has found that solo diners prefer angular shapes — in lights, tables or plates, for example — to round ones, which are more associated with the connectedness of groups. They also prefer slow-tempo music.

Jill Weber, the founder of Sojourn Philly, a Philadelphia company that owns two restaurants and a wine bar, said she adds a communal table at special events such as wine tastings so individuals have a place to gather. She also doesn’t offer specials designed for two.

Weber, who is also an archaeologist, loves dining alone when she’s traveling.

“There’s something about not having to agree on where to go and everything that goes with that. You have the freedom to stay as long as you want, order what you want and sit with those things,” she said. “It also feels brave sometimes.”
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New York is one of the fashion capitals of the world, but the industry has made fewer strides in advancing and promoting minorities. In the uptown neighborhood of Harlem, a program is tapping into community talent, led by a local who almost missed out on the industry entirely. Tina Trinh reports. Videographer: Ting-Yi Hsu
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los angeles, california — Halloween has arrived earlier than ever at major U.S. theme parks, as operators such as Disney, Six Flags, and Universal Studios seek to expand their reach and build on consumers’ love of spooky costumes and scares. 

Theme park operators have introduced a range of attractions, live performances, merchandise and food and beverages in August — before summer has ended and well before the October 31 holiday — to take advantage of the surging popularity of Halloween. These holiday-themed efforts come at a time when domestic theme park attendance has slumped, following a surge in demand after COVID.  

Edithann Ramey, chief marketing officer at Six Flags, told Reuters that the theme parks saw attendance gains and increases in guest spending in 2023 when it introduced attractions based on the horror films “SAW” and “The Conjuring.” 

The offerings were so successful that the theme park company has been investing more in Halloween experiences, Ramey said. 

“It’s become this time of the year that’s grown in explosive ways,” Ramey said. “It’s become a billion-dollar industry in the last five years.”

Jakob Wahl, chief executive for the International Association of Amusement Parks and Attractions, said Halloween has become one of the strongest selling points for parks that cater to young people and families.  

“We actually see a growth every year in terms of Halloween events, not only North America, but across the world,” Wahl said.  

Disney starts season in August

Walt Disney’s parks started the Halloween season earlier than ever this year with “Mickey’s Not So Scary Party” beginning on August 9 and running through the end of October.  

The Oogie Boogie Bash, a separately ticketed event named for the “Nightmare Before Christmas” villain, sold out this year in 11 days, Disney said. Its popularity prompted the company to push the release date to August 25 from September 5. 

“We’ve seen from our guests in years past that there’s a demand for them to come and enjoy that season with us,” said Tracy Halas, creative director of Disney Live Entertainment.  

Six Flags also kicks off Halloween early this year, on September 14, with a new experience called “Saw: Legacy of Terror” celebrating the 20th anniversary of the “SAW” horror movie franchise.  

Following the $8 billion merger of Six Flags and former rival Cedar Fair, which created the nation’s largest amusement park operator, with 42 parks across 17 states, Six Flags is increasing its investment in Halloween.  

That includes adding Hollywood-themed experiences to Six Flags Fright Fest based on Netflix’s science fiction series, “Stranger Things,” as well as horror films “Texas Chainsaw Massacre,” and “The Conjuring.”

Universal adds ‘Ghostbusters’ haunted house 

Comcast-owned Universal Studios 2024 Halloween Horror Nights in Orlando runs from August 30 to November 3, the longest season they’ve ever had. The company did not immediately respond to a Reuters request for comment. 

Universal is adding a “Ghostbusters: Frozen Empire” haunted house to its Halloween programming alongside the first attraction inspired by horror franchise, “A Quiet Place.”  

Universal also aims to attract guests at Universal Studios Japan with a new 4D show in collaboration with the anime television series “Chainsaw Man.”  

Both Universal Orlando and Japan will add cast members dressed as the antagonists called Death Eaters to haunt Diagon Alley during Horror Nights.  

Disney villain Cruella de Vil hosted a “Let’s Get Wicked” celebration at Hong Kong Disneyland in 2022, which received an industry award and returns this year.  
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Venice, Italy — Hollywood heavyweights George Clooney and Brad Pitt admit they are disappointed their latest comedy “Wolfs” is not getting a broad cinema release and instead heading almost straight onto Apple TV.

“It is a bummer,” Clooney said on Sunday, adding that television streamers, such as Apple AAPL.O, were nevertheless vital to the future of filmmaking, presenting actors with opportunities and generating bigger audiences for their work.

“Streaming, we need it, our industry needs this,” he said.

Written and directed by Jon Watts, “Wolfs” is an old-fashioned crime caper with Clooney and Pitt playing lone-wolf professional fixers who are forced to work together with comically unfortunate consequences.  

Apple originally signaled it would place the film in a large number of cinemas before the TV release, but instead opted to show it briefly in a restricted number of U.S. movie theatres and then run it on its global TV service.

“We’ll always be romantic about the theatrical experience. At the same time, I love the existence of the streamers because we get to see more story, we get to see more talent, it gets more eyes,” said Pitt. “It’s a delicate balance right now and it’ll right itself.”

Asked what it meant if two of the biggest names in the business could not get a broad cinema release, as they had requested, Clooney quipped: “Clearly we’re declining.”

Sixteen years after last appearing together in 2008’s Coen brothers’ comedy “Burn After Reading,” Pitt and Clooney said they jumped at the chance to reunite when they read Watts’ script for “Wolfs.”

“I got to say, just as I get older, just working with the people that I just really enjoy spending time with has really become important to me,” said Pitt, who turned 60 last year.

In a news conference full of light-hearted banter, Clooney, said Pitt, was fortunate still to be offered parts. “He’s 74 years-old and he’s very lucky at this age to still be working.”

On a more serious note, he denied a New York Times story in August that said both he and Pitt had been paid more than $35 million each to appear in the film.

“I’m only saying that because I think it’s bad for our industry if that’s what people think is the standard bearer for salaries. I think that’s a terrible thing. It will make it impossible to make a film,” he said.

“Wolfs” is showing out of competition at the Venice Film Festival, which runs until Sept. 7.
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