LONDON — Irish singer Sinead O’Connor, who was found unresponsive at an address in London in July last year, died of natural causes, the coroner said on Tuesday. 

O’Connor, known for her stirring voice, outspoken views and 1990 chart-topping hit “Nothing Compares 2 U,” was pronounced dead at the scene. Police had said her death, at the age of 56, was not being treated as suspicious. 

The coroner’s court said at the time that an autopsy would be conducted before a decision was made on whether to hold an inquest. 

“This is to confirm that Ms O’Connor died of natural causes. The coroner has therefore ceased their involvement in her death,” London Inner South Coroner’s Court said in a statement. 

Artists around the world reacted to the news of her death last year, with REM frontman Michael Stipe and U.S. musician Tori Amos among those who paid tribute to O’Connor’s fierce honesty, intense presence and uncompromising spirit. 

Thousands gathered outside O’Connor’s former seaside home to bid farewell to her when her funeral was held in August, some singing along to hits blasted from a vintage Volkswagen camper van and others showering her hearse with flowers. 
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Munich — Franz Beckenbauer, who won the World Cup both as player and coach and became one of Germany’s most beloved personalities with his easygoing charm, has died, news agency dpa reported Monday. He was 78.

“It is with deep sadness that we announce that my husband and our father, Franz Beckenbauer, passed away peacefully in his sleep yesterday, Sunday, surrounded by his family,” the family said in a statement to dpa, the German news agency. “We ask that we be allowed to grieve in peace and be spared any questions.”

The statement did not provide a cause of death. The former Bayern Munich great had struggled with health problems in recent years.

Beckenbauer was one of German soccer’s central figures. As a player, he reimagined the defender’s role in soccer and captained West Germany to the World Cup title in 1974 after it had lost to England in the 1966 final. He was the coach when West Germany won the tournament again in 1990, a symbolic moment for a country in the midst of reunification, months after the Berlin Wall fell.

Beckenbauer was also instrumental in bringing the highly successful 2006 World Cup to Germany, though his legacy was later tainted by charges that he only succeeded in winning the hosting rights with the help of bribery. He denied the allegations.

Beckenbauer and three other members of the committee were formally made criminal suspects that year by Swiss prosecutors who suspected fraud in the true purpose of multi-million euro (dollar) payments that connected the 2006 World Cup with FIFA. But he was eventually not indicted in 2019 for health reasons and the case ended without a judgment when the statute of limitations expired in 2020 amid delays to the court system caused by the coronavirus pandemic.

The allegations damaged Beckenbauer’s standing in public perception for the first time. Until then, Beckenbauer had seemingly been unable to say or do anything wrong. Germans simply loved him.

The son of a post official from the working-class Munich district of Giesing, Beckenbauer became one of the greatest players to grace the game in a career that also included stints in the United States with the New York Cosmos in the late 1970s and early 1980s.

Born on Sept. 11, 1945, months after Germany’s surrender in World War II, Beckenbauer studied to become an insurance salesman but he signed his first professional contract with Bayern when he was 18.

“You are not born to become a world star in Giesing. Football for me was a deliverance. Looking back, I can say: Everything went according to how I’d imagined my life. I had a perfect life,” Beckenbauer told the Sueddeutsche newspaper magazine in 2010.

Beckenbauer personalized the position of “libero,” the free-roaming nominal defender who often moved forward to threaten the opponent’s goal, a role now virtually disappeared from modern football and rarely seen before his days.

An elegant, cool player with vision, Beckenbauer defined as captain the Bayern Munich side that won three successive European Cup titles from 1974 to 1976.

In his first World Cup as player in 1966, West Germany lost the final to host England. Four years later, with his arm strapped to his body because of a shoulder injury, Germany lost a memorable semifinal to Italy.

Finally, in 1974 at home, Beckenbauer captained West Germany to the title.

Beckenbauer left Bayern for New York in 1977 to play for the Cosmos of the North American Soccer League. He missed the 1978 World Cup because the Germans decided not to invite players playing abroad. He returned to Germany in 1980, spent two seasons with Hamburger SV — and won another Bundesliga championship, his fifth — before returning for a final season with the Cosmos.

Although he had never coached before, Beckenbauer was hired to revive West Germany in 1984 after a flop at the European Championship.

West Germany made it to the final of the 1986 World Cup, losing to Diego Maradona’s Argentina in Mexico City. Although West Germany failed to win the 1988 Euros title at home, it went to the final of the 1990 World Cup and defeated Argentina in the final in Rome, another highlight in the year after the fall of the Berlin Wall.

Later, at the news conference, he said he was “sorry for the rest of the world” because a united Germany would be unbeatable for years to come. But Germany had to wait 24 years before winning another World Cup title.

Beckenbauer retired from the West Germany job after coaching the team to the 1990 World Cup triumph. The final was the last tournament game played by a West Germany-only team.

He didn’t have much success at coaching Marseille but won the Bundesliga title with Bayern in 1994 and the UEFA Cup in 1996, both after taking over as coach late in the season. He later became Bayern’s president, until leaving most functions when he turned 65 in 2010.

Beckenbauer’s legal issues around the 2006 World Cup continued into his retirement, but he remained a much-loved figure in German soccer and society.
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BEVERLY HILLS, California — “Oppenheimer has dominated the Golden Globe Awards, taking home the night’s top honor. Yorgos Lanthimos’ “Poor Things” has won best comedy or musical at the 81st Golden Globes, an upset victory over the category favorite, “Barbie.” 

Emma Stone also won for her performance in “Poor Things.”

On the television side, “Succession” and “The Bear” are took multiple honors. Christopher Nolan’s epic American drama “Oppenheimer” picked up five big awards including best drama film, best director for Nolan, best actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and for Ludwig Göransson’s score.

Paul Giamatti and Da’Vine Joy Randolph both won for their performances in “The Holdovers.”

Christopher Nolan’s blockbuster biopic “Oppenheimer” dominated the 81st Golden Globes, winning five awards including best drama, while Yorgos Lanthimos’ Frankenstein riff “Poor Things” pulled off an upset victor over “Barbie” to triumph in the best comedy or musical category.

If awards season has been building toward a second match-up of Barbenheimer, this round went to “Oppenheimer.”

The film also won best director for Nolan, best drama actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and for Ludwig Göransson’s score.

“I don’t think it was a no-brainer by any stretch of the imagination to make a three-hour talky movie — R-rated by the way — about one of the darkest developments in our history,” said producer Emma Thomas accepting the night’s final award and thanking Universal chief Donna Langley.

Along with best comedy or musical, “Poor Things” also won for Emma Stone’s performance as Bella, a Victorian-era woman experiencing a surreal sexual awakening.

“I see this as a rom-com,” said Stone. “But in the sense that Bella falls in love with life itself, rather than a person.

She accepts the good and the bad in equal measure, and that really made me look at life differently.”

Lily Gladstone won best actress in a dramatic film for Martin Scorsese’s “Killers of the Flower Moon.” Gladstone, who began her speech speaking the language of her native tribe, Blackfeet Nation, is the first Indigenous winner in the category.

“This is a historic win,” said Gladstone. “It doesn’t just belong to me.”

The Globes were in their ninth decade but facing a new and uncertain chapter. After a tumultuous few years of scandal, the Hollywood Foreign Press Association was dissolved, leaving a new Globes, on a new network (CBS), to try to regain its perch as the third biggest award show of the year, after the Oscars and Grammys. Even the menu (sushi from Nobu) was remade.

“Golden Globes journalists, thank you for changing your game, therefore changing your name,” said Downey in his acceptance speech.

It got off to a rocky start. Host Jo Koy took the stage at the Beverly Hilton International Ballroom in Beverly Hills, California.

The Filipino American stand-up hit on some expected topics: Ozempic, Meryl Streep’s knack for winning awards and the long-running “Oppenheimer.” (“I needed another hour.”)

After one joke flubbed, Koy, who was named host after some bigger names reportedly passed, also noted how fast he was thrust into the job.

“Yo, I got the gig 10 days ago. You want a perfect monologue?” said Koy. “I wrote some of these and they’re the ones you’re laughing at.”

Hi, Barbie

Downey’s win, his third Globe, denied one to “Kenergy.” Ryan Gosling had been seen as his stiffest competition, just one of the many head-to-head contests between “Oppenheimer” and Greta Gerwig’s “Barbie.”

The filmmakers faced each other in the best director category, where Nolan triumphed.

It was two hours before “Barbie,” the year’s biggest hit with more than $1.4 billion in ticket sales, won an award Sunday. Billie Eilish’s “What Was I Made For?” took best song, and swiftly after, “Barbie” took the Globes’ new honor for “cinematic and box office achievement.”

Some thought that award might go to Taylor Swift, whose “Taylor Swift: The Eras Tour” also set box-office records. Swift, though, remains winless in five Globe nods.

Margot Robbie, star and producer of “Barbie,” accepted the award in a pink gown modeled after 1977’s Superstar Barbie.

“We’d like to dedicate this to every single person on the planet who dressed up and went to the greatest place on Earth: the movie theaters,” said Robbie.

“Barbie” and “Oppenheimer,” two blockbusters brought together by a common release date, also faced off in the best screenplay category.

But in an upset, Justine Triet and Arthur Harari won for the script to the French courtroom drama “Anatomy of a Fall.” Later, Triet’s film picked up best international film, too.

Though the Globes have no direct correlation with the Academy Awards, they can boost campaigns at a crucial juncture. Oscar nomination voting starts Thursday, and the twin sensations of Barbenheimer remain frontrunners.

Other contenders loom, though, like “Poor Things” and “The Holdovers.”

Paul Giamatti and Da’Vine Joy Randolph both won for Alexander Payne’s “The Holdovers.” Giamatti, reuniting with Payne two decades after “Sideways,” won best actor and Randolph won for her supporting performance as a grieving woman in the 1970s-set boarding school drama.

“Oh, Mary you have changed my life,” Randolph said of her character. “You have made me feel seen in so many ways that I have never imagined.”

Hayao Miyazaki’s “The Boy and the Heron” won best animated film, an upset over “Spider-Man: Across the Spider-Verse.”

‘Succession,’  ‘The Bear’ Lead TV Winners

The final season of “Succession” cleaned up on the television side. It won best drama series for the third time, a mark that ties a record set by “Mad Men” and “The X-Files.” Three stars from the HBO series also won: Matt Macfadyen, Sarah Snook and Kieran Culkin.

“It is bittersweet, but things like this make it rather sweeter,” said “Succession” creator Jesse Armstrong.

Hulu’s “The Bear” also came away with a trio of awards, including best comedy series. Jeremy Allen White won for the second time, but this time he had company.

Ayo Edebiri won her first Globe for her leading performance in the Hulu show’s second season. She thanked the assistants of her agents and managers.

“To the people who answer my emails, you’re the real ones,” said Edebiri.

“Beef” won three awards: best limited series as well as acting awards for Ali Wong and Steven Yeun.

The Globes also added a new stand-up special award. That went, surprisingly, to Ricky Gervais, who didn’t attend the show he so often hosted. Some expected Chris Rock to win for “Selective Outrage,” his stand-up response to the Will Smith slap.

The Globes Comeback

A few years ago, the Golden Globes were on the cusp of collapse. After The Los Angeles Times reported that the HFPA had no Black members, Hollywood boycotted the organization.

The 2022 Globes were all but canceled and taken off TV. After reforms, the Globes returned to NBC last year in a one-year deal, but the show was booted to Tuesday evening.

With Jerrod Carmichael hosting, the telecast attracted 6.3 million viewers, a new low on NBC and a far cry from the 20 million that once tuned in.

The Golden Globes were acquired by Eldridge Industries and Dick Clark Productions, which Penske Media owns, and turned into a for-profit venture.

The HFPA (which typically numbered around 90 voters) was dissolved and a group of some 300 entertainment journalists from around the world now vote for the awards.

Questions still remain about the Globes’ long-term future, but their value to Hollywood studios remains providing a marketing boost to awards contenders. (The Oscars won’t be held until March 10.)

This year, because of the actors and writers strikes, the Globes are airing ahead of the Emmys, which were postponed to Jan. 15.

With movie ticket sales still 20% off the pre-pandemic pace and the industry facing a potentially perilous 2024 at the box office, Hollywood needed the Golden Globes as much as it ever has.

The most comical evaluation on the Globes came from presenters Will Ferrell and Kristin Wiig, who blamed the awards body for the constant interruption of a song they found irresistible while otherwise solemnly presenting best actor in a drama.

A furious, dancing Ferrell shouted: “The Golden Globes have not changed!”
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LOS ANGELES — Timothee Chalamet and “Wonka” topped the box office charts for the third time in its four weekends in theaters. Warner Bros.’ family-oriented musical added $14.4 million in ticket sales according to studio estimates Sunday, bringing its total domestic grosses to $164.7 million. 

“‘Wonka’ is following in the tradition of a film like ‘The Greatest Showman,'” said Paul Dergarabedian, the senior media analyst for Comscore. That Hugh Jackman musical opened under $9 million in December 2017 and went on to gross $435 million globally. 

“‘Wonka’ is a perfect crowd pleaser released at the perfect time and it’s going to ride that wave into January,” Dergarabedian said. “It’s an opportune time for it to be in the marketplace.” 

After finishing 2023 on a high note, 2024 is getting off to a slower start than last year, down around 16%, with the Universal/Blumhouse horror “Night Swim” as the only major new offering in theaters. The movie stars Wyatt Russell and Kerry Condon as a couple with a sinister, supernatural swimming pool. 

“Night Swim” drew in an estimated $12 million in its first weekend in 3,250 theaters in North America against a reported $15 million production budget. Including international showings in 36 markets, “Night Swim” is heading towards a $17.7 million global debut. 

“Not only did it perform really well at the box office, but it’s going to make us look at every swimming pool with a little more trepidation,” said Jim Orr, Universal’s head of domestic distribution. 

Horror movies are largely critic-proof, but with fairly negative reviews and a C CinemaScore rating, it’s unlikely to repeat the viral success of last year’s demon doll movie “M3GAN.” 

“We don’t have ‘Avatar: The Way of Water,’ which totally dominated the box office a year ago, or ‘M3GAN,’ which made that a bigger weekend,” said Dergarabedian. “But it’s a bit early to call it in terms of how the year is going to turn out.” 

Warner Bros. and Universal placed third and fourth on the charts as well. Warner Bros.’ DC superhero movie “Aquaman and the Lost Kingdom” earned $10.6 million in its third weekend, bumping its domestic tally just over the $100 million mark. Universal’s animated “Migration” added $10.3 million, bringing its running domestic total to $77.8 million. 

Sony’s Glen Powell and Sydney Sweeney romantic comedy “Anyone But You” landed in fifth place with $9.5 million, up 9% from last weekend. The movie has grossed $43.7 million to date. 

Cineplexes are full of awards contenders, including “The Color Purple,” “The Iron Claw” and “Poor Things,” and the Golden Globes broadcast Sunday night might help spread awareness for those and other films. 

“The Golden Globes are like a three-hour infomercial for the industry,” Dergarabedian said. “There’s no downside to having a very high profile telecast that puts a spotlight on the movies.” 

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

1. “Wonka,” $14.4 million. 

2. “Night Swim,” $12 million. 

3. “Aquaman and the Lost Kingdom,” $10.6 million. 

4. “Migration,” $10.3 million. 

5. “Anyone But You,” $9.5 million. 

6. “The Boys in the Boat,” $6 million. 

7. “The Color Purple,” $4.8 million. 

8. “The Iron Claw,” $4.5 million. 

9. “Ferrari,” $2.5 million. 

10. “Poor Things,” $2 million. 
    …

BEVERLY HILLS, California — Margot Robbie, Oprah Winfrey and Leonardo DiCaprio will mingle with other top stars on Sunday at the Golden Globe awards, Hollywood’s first big celebration since twin strikes shut down most of show business last year. 

The red carpet, champagne-fueled awards ceremony will honor the best of film and television selected by a new group of 300 entertainment journalists from around the world, part of reforms made after a diversity and ethics scandal among voters.  

“Barbie,” the summer blockbuster starring Robbie as the iconic doll, leads all nominees with nine nominations. Historical drama “Oppenheimer,” about the making of the atomic bomb, follows with eight nods. 

The Globes kick off Hollywood’s annual awards season, which culminates with the Oscars on March 10, and will bring top stars together after six months of strikes by actors and writers in 2023. The ceremony will give celebrities the chance to shine a spotlight on their films and TV shows after months when promotion was prohibited.  

“I’m a little biased, but this is the best awards show and we’re going to have fun,” said comedian Jo Koy, who will host his first major awards show starting at 8 p.m. ET (0100 GMT on Monday). 

The ceremony will be broadcast live on U.S. TV network CBS and streamed simultaneously for subscribers to Paramount+ with Showtime. 

Acting nominees include Robbie and “Barbie” co-star Ryan Gosling, plus “Oppenheimer” stars Cillian Murphy and Robert Downey Jr. DiCaprio, Lily Gladstone and Robert De Niro, who starred in Martin Scorsese’s “Killers of the Flower Moon,” also are up for trophies.  

Winfrey is among the night’s presenters. Pop superstar Taylor Swift also may join the A-list crowd as a nominee for “Taylor Swift: The Eras Tour,” her concert film that is in the running in a new category for cinematic and box office achievement.  

In the television field, “Succession” is expected to win accolades for its final season about the high-stakes battle for control of a global media empire. It leads all nominees with nine nods, followed by restaurant dramedy “The Bear” with five. 

There are 27 first-time nominees for this year’s Globes.  

Known as a boozy celebration more relaxed than the Oscars, the Globes nearly became extinct. A 2021 Los Angeles Times report revealed ethical lapses and a lack of diversity among the roughly 80 members of the Hollywood Foreign Press Association, the group that previously voted on the Globes. The 2022 ceremony was scrapped while the organization made reforms. 

Last year, the Globes were sold to new owners and the association was disbanded. Eldridge Industries and Dick Clark Productions now operate the awards, with a voting body of 300 journalist members from 75 countries with 60% racial and ethnic diversity. 

The changes appear to have persuaded Hollywood’s top talent to embrace the show and its new members. 

“They’re trying to announce that they’re new and improved,” said Joyce Eng, senior editor at awards website Gold Derby. “I feel like people are more receptive to them.” 
…

Customized cars that ride low and slow have been part of Mexican American culture since the 1940s. But in California, cruising in these modified vehicles was mostly illegal — until the new year. Genia Dulot has our story from Los Angeles.
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FRESNO, Calif. — David Rasavong’s cultural pride is evident all throughout his restaurant.

It’s on the wall of family portraits and where a stunning mural depicts his family’s journey from Laos to California. It’s on the menu filled with Lao and Thai dishes like the crispy coconut rice salad of Nam Khao and the stir-fried rice noodles of Pad See Ew.

And it’s in the fact that Love & Thai in Fresno, California, restaurant is open at all. A baseless accusation grounded in a racist stereotype about Asian food using dog meat brought a six-month barrage of harassment so heated that Rasavong, 41, closed down its previous location over fears for his family’s safety.

His earlier restaurant had itself only been open for seven months when a so-called animal welfare crusader in May implied on social media that a pitbull tied up at an unconnected home next door was going to be served on the menu.

A day after the initial commentary, vitriolic statements, voicemails and calls rained down. Rasavong’s body still tenses up when recounting, in particular, a call from an elderly woman.

“She was so disgusted by me and yelling and screaming, and the only thing I can remember hearing her say at the end was ‘Go back to the country you came from you dog-eating mother-effer,'” Rasavong recently told The Associated Press.

Within days, he closed that restaurant because it no longer felt safe between the harassment and people loitering in the parking lot outside of business hours.

The false accusation tapped into a longstanding slur against Asian cuisines and cultures that has persisted in the U.S. for over 150 years, dating back to the xenophobia that grew in the U.S. after Chinese immigrants started arriving in more visible numbers in the 1800s and other Asian communities followed. It’s also one that Asian American communities are fighting against.

It may be astonishing to some that a claim rooted in a racist stereotype took down a family’s restaurant three years after “Stop Asian Hate” became a rallying cry. But for many Asian Americans and Pacific Islanders, it’s something they’ve heard before as an insult or under the guise of a “joke,” along with other negative reactions to the actual foods of their cultures. In December, a comedian received some backlash for dressing like a UPS delivery driver and walking into an Asian restaurant with caged puppies for a social media video.

There is hope though that more people will learn to tell truth from trope. Since the pandemic first fueled anti-Asian hostilities, AAPI communities themselves have tried to take control of the narrative that Asian food is “dirty,” “weird” yet “exotic.” Furthermore, the appetite to learn about food from the Asian diaspora has only grown across traditional and new media.

Still, there were moments where Rasavong felt like nobody, even media, was on his side. He said a few reporters approached him assuming the claims were true.

But he soon received tons of community support, and the closure ended up being a new beginning.

A shopping center property manager offered him the chance to take over a suite vacated by another restaurant. Nkundwe P. van Wort-Kasyanju, a graphic designer in the Netherlands, and Los Angeles-based interior designer Danny Gonzales proffered their services for free. Hana Luna Her, a local artist, painted the mural. By the Nov. 3 grand opening of the new space, Love & Thai definitely felt the love. The place was bustling all day, Rasavong said, and the city presented a proclamation.

Rasavong is holding onto the belief that he went through this whole saga for a reason.

“There’s a journey that we’re supposed to go on,” said Rasavong, who declined to say if he’ll pursue legal action. “Don’t get me wrong. People need to realize this business is not easy … But you know, we believe in what we’re doing and so far so good.”

In actuality, consuming dog meat is something that has happened in various parts of the world for centuries, where they weren’t seen as domesticated family pets, said Robert Ku, author of Dubious Gastronomy: The Cultural Politics of Eating Asian in the USA. Greeks and Romans referenced it. The French also ate dog meat during World War II.

But when Chinese immigrants came to the U.S., it was linked to them as part of “the myths that the Chinese were these bizarre people who had bizarre diets,” Ku said. “It was one of the attractions of actually going to Chinese restaurants back in the day because it came with ‘danger.'”

As other Asian immigrant groups came, the stereotype spread to include them.

“This is a real just blurring of the Asian identity where it doesn’t matter if you’re Thai or Korean or Vietnamese or Cambodian. You’re all the same,” Ku said.

Along with the false allegation of eating dog meat, Asian Americans and Pacific Islanders over the generations have often faced disgust and worse from others when they’ve brought their cultures’ foods from home to public spaces like school or work.

They’re taking steps to fight back, like in 2021, when San Francisco-Bay Area-based writers Diann Leo-Omine. Anthony Shu and Shirley Huey self-published Lunchbox Moments, a compilation of over two dozen personal essays and illustrations that raised $6,000 for charity.

The project became “a powerful thing for all of us,” Leo-Omine said.

“We tried to show it’s not always about being in relation to being American or being white or assimilated,” she said. “You can have moments of joy, too…I hope that it opened people’s minds a little bit more — or made them want to try new foods.”

It’s actually been a big year in publishing and food media for Asian cuisine. Publishers Weekly dedicated a feature in August entirely to Chinese and Taiwanese food after observing nine new cookbooks on the subjects were coming out this year. Several of the authors grew up outside of Asia. The titles range from Vegan Chinese Food, to Kung Food and A Very Chinese Cookbook from America’s Test Kitchen. Also, children’s book author Grace Lin released Chinese Menu, which relays folklore behind favorite Chinese American dishes. They all share personal anecdotes and readers often seem drawn to “personality-driven” cookbooks, said Carolyn Juris, features editor.

“It’s not just about the recipes. It’s about the stories behind them and I think people respond to that,” Juris said.

Like any other culture, Asian cultures encompass many different regional cuisines and nuances. With the growing Asian diaspora, it’s not strange that so many cookbooks can be mined and “publishers are savvy enough to know that there is a market for these books,” Juris added.

Back at Love & Thai, Rasavong is busy filling online orders for a waiting third-party delivery driver. He is optimistic about keeping up business now that the initial hoopla around his restaurant renaissance has calmed down. Rasavong also hopes his situation will remind others to think before they speak.

“People say these jokes and they think it’s just fun and just light-hearted,” he said. “There are certain things that you shouldn’t say that really do cross a line.”
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VATICAN CITY — Amid resistance to some Vatican policy by more conservative factions of the Catholic Church, Pope Francis on Saturday cautioned the faithful against fracturing into groups “based on our own ideas.”

He issued the call to abandon “ecclesiastical ideologies” in his homily in St. Peter’s Basilica during Epiphany Day Mass, the last major Christmas season holiday.

Francis also warned against “basking in some elegant religious theory” instead of finding God in the faces of the poor.

Last month, Francis gave permission for priests to bless couples outside of marriage, including same-sex relationships, if the blessing was pastoral and not liturgical or part of some religious rite.

Some bishops who view Francis as a dangerous progressive immediately rejected such blessings. That prompted the Vatican earlier this week to issue a statement stressing that the blessings don’t constitute heresy and there were no doctrinal grounds to reject the practice.

Francis in his Epiphany homily didn’t cite the pushback against his same-sex blessings policy. But he deviated from the written text of the homily to cite the “need to abandon ecclesiastical ideologies.”

Francis said the church needed to ensure that “our faith will not be reduced to an assemblage of religious devotions or mere outward appearance.”

“We find the God who comes down to visit us, not by basking in some elegant religious theory, but by setting out on a journey, seeking the signs of his presence in everyday life,” especially in the faces of the poor, the pontiff said.

The pontiff, who turned 87 last month and who battled health problems last year, held up well during the Epiphany ceremony, which included singing of Christmas hymns. At the end of the 90-minute service, an aide wheeled Francis down the basilica’s center aisle. The pope has a chronic knee problem and uses a wheelchair to navigate longer distances.

He has dedicated much of his nearly 11-year-old papacy to encouraging attention to marginalized people, including the poor. While the church teaches that homosexual acts are sinful, Francis has made efforts to make LGBTQ+ Catholics feel welcome.
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NEW YORK — Glynis Johns, a Tony Award-winning stage and screen star who played the mother opposite Julie Andrews in the classic movie Mary Poppins and introduced the world to the bittersweet standard-to-be Send in the Clowns by Stephen Sondheim, has died. She was 100.

Mitch Clem, her manager, said she died Thursday at an assisted living home in Los Angeles of natural causes. “Today’s a sad day for Hollywood,” Clem said. “She is the last of the last of old Hollywood.”

Johns was known to be a perfectionist about her profession — precise, analytical and opinionated. The roles she took had to be multifaceted. Anything less was giving less than her all.

“As far as I’m concerned, I’m not interested in playing the role on only one level,” she told The Associated Press in 1990. “The whole point of first-class acting is to make a reality of it.  To be real. And I have to make sense of it in my own mind in order to be real.”

Johns’ greatest triumph was playing Desiree Armfeldt in A Little Night Music, for which she won a Tony in 1973. Sondheim wrote the show’s hit song Send in the Clowns to suit her distinctive husky voice, but she lost the part in the 1977 film version to Elizabeth Taylor.

“I’ve had other songs written for me, but nothing like that,” Johns told the AP in 1990. “It’s the greatest gift I’ve ever been given in the theater.”

Others who followed Johns in singing Sondheim’s most popular song include Frank Sinatra, Judy Collins, Barbra Streisand, Sarah Vaughan and Olivia Newton-John. It also appeared in season two of Yellowjackets in 2023, sung by Elijah Wood. 

Back when it was being conceived, A Little Night Music had gone into rehearsal with some of the book and score unfinished, including a solo song for Johns. Director Hal Prince suggested she and co-star Len Cariou improvise a scene or two to give book writer Hugh Wheeler some ideas. 

“Hal said ‘Why don’t you just say what you feel,'” she recalled to the AP. “When Len and I did that, Hal got on the phone to Steve Sondheim and said, ‘I think you’d better get in a cab and get round here and watch what they’re doing because you are going to get the idea for Glynis’ solo.'”

Johns was the fourth generation of an English theatrical family. Her father, Mervyn Johns, had a long career as a character actor, and her mother was a pianist. She was born in Pretoria, South Africa, because her parents were visiting the area on tour at the time of her birth.

Johns was a dancer at 12 and an actor at 14 in London’s West End. Her breakthrough role was as the amorous mermaid in the title of the 1948 hit comedy Miranda.

“I was quite an athlete, my muscles were strong from dancing, so the tail was just fine; I swam like a porpoise,” she told Newsday in 1998. In 1960’s The Sundowners, with Deborah Kerr and Robert Mitchum, she was nominated for a best supporting actress Oscar. (She lost out to Shirley Jones in Elmer Gantry.)

Other highlights include playing the mother in Mary Poppins, the movie that introduced Julie Andrews and where she sang the rousing tune Sister Suffragette. She also starred in the 1989 Broadway revival of The Circle, W. Somerset Maugham’s romantic comedy about love, marriage and fidelity, opposite Rex Harrison and Stewart Granger.

“I’ve retired many times. My personal life has come before my work. The theater is just part of my life. It probably uses my highest sense of intelligence, so therefore I have to come back to it, to realize that I’ve got the talent. I’m not as good doing anything else,” she told the AP.

To prepare for A Coffin in Egypt, Horton Foote’s 1998 play about a grand dame reminiscing about her life on and off a ranch on the Texas prairie, she asked the Texas-born Foote to record a short tape of himself reading some lines and used it as her coach.

In a 1991 revival of A Little Night Music in Los Angeles, she played Madame Armfeldt, the mother of Desiree, the part she had created. In 1963, she starred in her own TV sitcom, Glynis. 

Johns lived all around the world and had four husbands. The first was the father of her only child, the late Gareth Forwood, an actor who died in 2007.
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An exhibition of Ukrainian traditional clothing and unique art pieces opened in Los Angeles to support Ukrainian artists. The goals are twofold, help the artists but also help children in Ukraine. Khrystyna Shvchenko has the story.
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Mushers and their dogs in the Iditarod Trail Sled Dog Race face plenty of variables in the Alaska wilderness. An unexpected one this year has been heat that is taking a toll in a sport better suited for temperatures well below zero. 

Jason Mackey said a thermometer hanging from the back of his sled hit 26.67 degrees Celsius at one point this week as he camped alongside the trail while mushers neared the halfway mark of the race. Other racers threw their game plans for the 1,609-kilometer race across Alaska out the window to deal with the heat and messy trail conditions. 

Although it’s warm, it wasn’t 26.67 degrees in interior Alaska, which would probably be a record high in July, said Brian Brettschneider, a climate scientist with the National Weather Service’s Alaska Region. Instead, when you leave a thermometer in the sun, it absorbs the solar energy, which is the reason official measurement thermometers are kept in the shade. 

But it’s still warm and sunny, and it’s having noticeable effects on people who are exposed to it, Brettschneider said. 

Last weekend, the same area was much cooler than normal, with what appeared to be ideal mushing conditions. The warmer conditions are being driven by an area of high pressure, he said.  

Many communities in the nation’s largest state hit record highs this week, from Kodiak off Alaska’s southern coast to Deadhorse, the supply town for oil companies operating on the state’s North Slope, about 2,012 kilometers away. 

Along the Iditarod race route, the community of McGrath didn’t set records but had a high Wednesday of 2.22 degree Celsius, -10 degree Celsius above normal. More telling was a low temperature of -2.78 degrees Celsius. 

“Normally it should be below zero (-17.78 degrees Celsius),” Brettschneider said. 

That warmth was evident all along the Iditarod trail Wednesday. “There’s almost no places that were below freezing along the route,” he said. 

That was not news to Mackey. “I wish the temperatures would cool down,” the musher told a television crew from the Iditarod Insider. 

It’s just not the heat that was bothersome. He said he looked down at his sled at one point and saw two mosquitoes. 

“Yeah, it’s spring,” Mackey said. 

The heat is taking its toll on Mackey’s dogs, which he called “big boys” at 36.29 kilograms. He said other teams were moving in the heat of the day, but he wasn’t willing to do that. “I mean, it zaps them,” he said of the dog team. 

Kelly Maixner, a pediatric dentist, said his dogs don’t like the heat, and he’d rather it be -28.89 degrees Celsius. 

During the race, mushers must take one 24-hour layover at a checkpoint to rest. Part of where to take that layover plays into the strategy of most every musher. 

Nic Petit took his mandatory rest early in the race, at the checkpoint in Nikolai, because the sun was out. “I like hot dogs, just not my dog as a hot dog,” said Petit, who was born in France and raised in New Mexico. 

The melting was causing issues and concerns for some mushers, especially as they made for the race’s halfway point, the ghost village of Iditarod. 

“It could be soft and punchy out there, and who knows how the hills are going into Iditarod,” Richie Diehl told the TV crew. “It could be big tussocks just like a couple of years ago, and it could be a brutal run, you know, with the rolling hills and possibly barren tundra.” Tussocks are clumps of grass. 

Rookie musher Bailey Vitello of New Hampshire was near last place Thursday, running his dogs in the rain during the day and having to deal with ice at night. 

He would rather not be behind and dealing with ripped-up trails. “The back-of-the-pack is the worst part of the trail,” he told the TV crew. 

Riley Dyche of Fairbanks took his 24-hour break before reaching Iditarod because he didn’t want to run his dogs in the heat of the day. That likely cost him either $3,000 in gold nuggets or a new smart phone, the prize given to the first musher at the halfway point. 

“I don’t think the little incentive prize — it would have been cool — but I don’t think it would have been a benefit to these guys for getting to the finish line,” he said, speaking of his dogs. 

Instead, that prize went to race leader Wade Marrs, who is originally from Alaska but now living in Wisconsin. He arrived in Iditarod about 1 a.m. Thursday. 

The good news for mushers is that as they continue west, temperatures will be more Alaska-like, highs around -12 degrees Celsius and lows below -17.78 degrees, Brettschneider said. 

The race started Sunday in Willow, just north of Anchorage. Mushers will take their dog teams over two mountain ranges, the frozen Yukon River and the Bering Sea ice to the finish line in Nome. The winner is expected sometime early next week. 

 
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Robert Blake, the Emmy award-winning performer who went from acclaim for his acting to notoriety when he was tried and acquitted in the killing of his wife, died Thursday at age 89.

A statement released on behalf of his niece, Noreen Austin, said Blake died from heart disease, surrounded by family at home in Los Angeles.

Blake, the star of the 1970s TV show “Baretta,” had once hoped for a comeback, but he never recovered from the ordeal that began with the shooting death of his wife, Bonny Lee Bakley, outside a Studio City restaurant on May 4, 2001. The story of their strange marriage, the child it produced, and its violent end was a Hollywood tragedy played out in court.

Once hailed as among the finest actors of his generation, Blake became better known as the center of a real-life murder trial, a story more bizarre than any in which he acted. Many remembered him not as the rugged, dark-haired star of “Baretta,” but as a spectral, white-haired murder defendant.

In a 2002 interview with The Associated Press, he was adamant that he had not killed his wife. A jury ultimately acquitted him, but a civil jury would find Blake liable for her death and order him to pay Bakley’s family $30 million, a judgment that sent him into bankruptcy. The daughter he and Bakley had together, Rose Lenore, was raised by other relatives and went for years without seeing Blake until they spoke in 2019. She would tell People magazine that she called him “Robert,” not “Dad.”

It was an ignominious finale for a life lived in the spotlight from childhood. As a youngster, he starred in the “Our Gang” comedies and acted in a movie classic, “The Treasure of the Sierra Madre.” As an adult, he was praised for his portrayal of real-life murderer Perry Smith in the movie of Truman Capote’s true crime best seller “In Cold Blood.”

Blake’s career peaked with the 1975-78 TV cop series, “Baretta.” He starred as a detective who carried a pet cockatoo on his shoulder and was fond of disguises. It was typical of his specialty, portraying tough guys with soft hearts, and its signature line, “Don’t do the crime if you can’t do the time,” was often quoted.

Blake won a 1975 Emmy for his portrayal of Tony Baretta, although behind the scenes the show was wracked by disputes involving the temperamental star. He gained a reputation as one of Hollywood’s finest actors, but one of the most difficult to work with. He later admitted to struggles with alcohol and drug addiction in his early life.

In 1993, Blake won another Emmy as the title character in “Judgment Day: The John List Story,” portraying a soft-spoken, churchgoing man who murdered his wife and three children.

Blake’s career had slowed down well before the trial. He made only a handful of screen appearances after the mid-1980s; his last project was in David Lynch’s “Lost Highway,” released in 1997. According to his niece, Blake had spent his recent years “enjoying jazz music, playing his guitar, reading poetry and watching many Hollywood classic films.”

Once a wealthy man, he wound up living on Social Security and a Screen Actor’s Guild pension.
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The security crisis in Burkina Faso has impacted every aspect of society, including its film industry. The 28th edition of the Pan-African Film & TV Festival of Ouagadougou, or FESPACO, which ended earlier this month [March 4], reflected this difficult situation both on and off screen. Reporters Yacouba Ouedraogo and Thierry Kaore have this story, narrated by Salem Solomon
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California’s desert is drawing artists from Bangladesh and from Mexico to the Coachella Valley for an unusual exhibition called Desert X. For VOA, Genia Dulot went to see.
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Wednesday is International Women’s Day with a theme this year focusing on the need for gender equity. 

The annual observance, which dates to 1911 and fights for women’s rights, is a day for people everywhere to celebrate the achievements of women across society. 

The United Nations is putting the focus of its International Women’s Day programs on the importance of protecting the rights of women and girls in digital spaces and working to address gaps in access to vital technology. 

The U.N. says worldwide 259 million fewer women have access to the internet than men, and that without access and the ability to feel safe online, “they are unable to develop the necessary digital skills to engage in digital spaces.”

In Washington, the International Women of Courage award ceremony is taking place at the White House for the first time. The award, which has been given to 180 women from 80 countries since 2007, “recognizes women from around the globe who have demonstrated exceptional courage, strength, and leadership in advocating for peace, justice, human rights, gender equity and equality, often at great personal risk and sacrifice,” according to the U.S. State Department. 

This year’s event will feature 12 honorees, including an award for the women and girls in Iran who have led protests since the September death in police custody of Mahsa Amini. 

Some information for this report came from Reuters. 
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When entrepreneur Sana Bhatt decided to set up a studio, she hardly knew if people would appreciate her efforts to revive traditional music on the Indian side of Kashmir.

Prior to the launch of the studio, the 24-year-old approached many local artists to sing songs on a set that that appeared similar to that of the Pakistan-based musical show, “Coke Studio.”

“Kehwa Beats” is the name of the show streamed live on Bhatt’s YouTube channel, Kashmir Originals. It went on to become a big hit with just six tracks. Eight artists, including two women, set the stage on fire, singing songs written by local poets from the disputed Himalayan territory.

“I felt there was a need to bring out domestically produced songs so that people can consume our music,” Bhatt told VOA.

“Kashmir has a rich culture and has an outstanding heritage of producing wonderful music,” she said, adding that music helps people living in different parts of the world understand different cultures.

The task of setting up an appealing studio, according to Bhatt, was challenging in the face of what she says is a social mindset that places restrictions on women.

“I had expected a good response but had no idea that people from outside Kashmir, too, would fall in love with our music,” Bhatt told VOA. “One of our female artists was trolled because of her clothing during her performance, otherwise everything went smoothly.”

Shift to local music

For more than two decades, residents of Kashmir used to listen to music sung by well-known artists from India and Pakistan. Musicians such as Aatif Aslam, Rahat Fateh Ali Khan, Bohemia, Honey Singh, Neha Kakkar and Shreya Ghoshal used to reverberate in every household.

However, artists such as Mohammad Muneem and Noor Mohammad Shah, and a duo of Irfan and Bilal brought the attention of the local population back to domestically produced songs.

The revival of traditional Kashmiri music remained confined to men for several years until female singers such as Aabha Hanjura, Memet Syed, Vibha Saraf and others released their own tracks.

“There are many people who say ‘Why (do) females produce or sing songs?’ but at the same time appreciate men for doing the same,” Bhatt said. “People often relate women’s singing to religion. I ask them if it is related to the religion then both men as well as women should be targeted as religious restrictions are meant for both the genders.”

Difficult success

Nargis Khatoon, a young Kashmir-born New Delhi-based singer, believes women musicians don’t find good opportunities in the valley, unlike in other parts of India. As a result, it becomes difficult for singers like her to thrive in Kashmir.

“I live in New Delhi and find number of opportunities here, but if we speak about Kashmir we don’t have [a] commercial market to perform due to a large number of youth [who] hesitate in choosing music as a career,” Khatoon said.

Khatoon sees hope in people such as Bhatt coming forward and setting up a platform that allows musicians to present their talent in front of the world without any gender bias. But she said some broad-minded parents allow their daughters to choose their career in music only to have fears of an unstable future sometimes cause them to change their minds.

“I believe this is one of the reasons parents don’t allow girls to become singers, as they are worried about their future,” said Khatoon. “If more opportunities are provided in Kashmir, we might witness more and more female artists coming forward and joining the industry.”

‘More artists are welcome’

The Kashmir valley historically has produced many female singers who created a lasting impact on people of the region with their unique vocalization.

Years ago, the local population would be glued in front of radio and televisions for hours so that they could listen to their favorite female artists — household names such as Raj Begum, Naseema Akhther and Shameem Dev Azad.

Ishfaq Kawa, one of the popular singers in the valley, said that like men, women should work to promote traditional music because of their love for the Kashmiri language and culture.

“They [women] too love and do their bit to protect and promote our cultural music,” Kawa told VOA. “More and more artists are welcome to join this field, and everyone should respect them.”

However, Kawa disagrees with a popular notion that women singers are the only victims of abuse on social media.

“The thing is, an individual has to carry on without caring and thinking about such people,” said Kawa. “If we pay heed to what people say then we have to stop doing what we believe is good for our mother tongue.”

The show must go on

Bhatt, the entrepreneur, meanwhile is working on Season 2 of her show. Many popular as well as new faces will join Kashmir’s own “Coke Studio.”

“I and my team this year will focus folk songs of Kashmir,” Bhatt said. “Season 1 of ‘Kehwa Beats’ was the fusion of folk and hip-hop. In Season 2 we will try to give our folk music a contemporary touch which I believe would be popular among the masses, especially youth.”

Kashmir Originals, she said, not only provides a platform for singers but also for the instrumentalists, who she says add beauty to music.

“Both men and women instrumentalists are part of Kashmir Originals and ‘Kehwa Beats,'” Bhatt said. “Instrumentalists are as important as singers because they put life in the songs.”
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Young artists everywhere struggle to earn a living but that’s especially true in South Africa, where youth unemployment is more than 43 percent. The International Public Art Festival is trying to help bridge that gap by connecting young artists with companies seeking creative marketing. Vicky Stark reports from Cape Town, South Africa.
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Several hundred thousand Russian citizens are thought to have fled their home country since February of last year, when the Kremlin launched its invasion of Ukraine. While no official figures exist, some estimates put the figure at close to one million people.

The exodus includes Russian citizens seeking to avoid mandated military service, as well as political activists, journalists and artists. Critics of the war face imprisonment for “discrediting” the Russian military or spreading what the Kremlin calls “unreliable information.”

Those who fled Russia’s government crackdown include Pavel Otdelnov, an artist whose works often critique Soviet and Russian history and politics. The 43-year-old found sanctuary in London and just completed an exhibition for Pushkin House, a Russian cultural center in the British capital.

‘Acting out’

Otdelnov said the exhibition, “Acting Out,” was about the humanitarian catastrophe associated with the war in Ukraine, along with an attempt to find the signs hidden in history that led to the Kremlin’s invasion of Ukraine.

One of the first works, a painting titled “Money,” showed old Soviet banknotes stored inside an unused missile silo, something that actually happened with the collapse of communism. The work is embellished with fragments of real bank notes.

“In 1991, under [then-Prime Minister Valentin] Pavlov, monetary reform led to the impoverishment of the population,” Otdelnov explained.

“Many people lost their savings as they had to exchange the old-style bank notes for the new-style bank notes within only three days, and the amount to be exchanged was very limited. All the rest [of the cash] turned into worthless paper that was stored in warehouses and bank deposits in different parts of the Soviet Union and Russia, and later in missile silos,” Otdelnov said.

‘Humiliated’

Otdelnov grew up through the collapse of communism. His art works parody Russia’s feeling of injustice at the outcome of the Cold War, when the Soviet Union broke up.

“This is a narrative that is very actively used in today’s propaganda — this conviction that we were humiliated, that we were put on our knees, and that we are now finally getting up from our knees and showing the whole world how powerful we are. Putin’s phrase that the collapse of the Soviet Union was the greatest geopolitical catastrophe of the 20th century is very characteristic of this,” Otdelnov told VOA, referring to Russian President Vladimir Putin.

Russian laws

Shortly after launching its invasion of Ukraine, Russia passed a law criminalizing dissent against the war, punishable with huge fines and imprisonment. Thousands of people have been arrested at anti-war demonstrations and for voicing their opposition.

Otdelnov has exhibited his provocative works across Russia for decades. But like hundreds of thousands of other Russians, he feared for his liberty and safety. He left Russia shortly after the invasion began last year and was given a visa to live in Britain under the country’s Global Talent program.

Another of his works in the Pushkin House exhibition showed forlorn human figures lost in a vast sea of fog, apparently mirroring his experience. Otdelnov said the exhibit, “A Generation,” was about “those people who left their country, who do not see any prospects, do not see an opportunity to continue to live and progress and work there.”

Invasion of Ukraine

The final works in the exhibition addressed Russia’s war in Ukraine. One of the most powerful, “Cargo 200,” showed a railway wagon standing in a flat, snowy field — the winter landscape of eastern Ukraine.

“This is the refrigerated railway wagon that transports the bodies of the dead,” Otdelnov said. “This is the last work for this exhibition, and I decided to paint it when Putin announced mobilization,” he said.

“I thought about the fate of those people who will go to war, who will take up arms and who will be killed.”
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All eyes will be on Hollywood Sunday when the Academy Awards, or Oscars, will honor the best in filmmaking. From Los Angeles, Mike O’Sullivan has a preview.
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Several hundred thousand Russian citizens are thought to have fled their home country since February 2022, when the Kremlin launched the invasion of Ukraine. Critics of the war face imprisonment for “discrediting” the Russian military. Henry Ridgwell spoke to a Russian artist who has found sanctuary in London, and whose latest work addresses the war in Ukraine.
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In 2012, UNESCO, the U.N. body tasked with promoting arts and culture, identified the traditional xylophone known as the balafon as an important part of humanity’s cultural heritage. Today, in Ivory Coast, informal workshops with students are underway to promote the instrument and highlight its African origins. Alain Amontchi looks at this unique instrument in this story narrated by Salem Solomon. Video editor: Betty Ayoub.
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The battle to find baseball’s global champions gets under way this week when the pandemic-delayed World Baseball Classic returns after a six-year absence with Shohei Ohtani hoping to inspire Japan to a record third title.    

Teams from 20 countries are participating in the fifth edition of the tournament, with the four first round groups hosted at venues in Taiwan, Tokyo, Arizona and Florida before the bulk of the knockout rounds get under way in the United States.    

The tournament was last staged in 2017, with the United States finally winning the title for the first time with victory over Puerto Rico at Dodger Stadium in Los Angeles.    

The onset of the COVID-19 pandemic forced the postponement of the tournament in 2021, meaning the United States are only now launching their title defense with a team bristling with stars from Major League Baseball.    

The American roster includes some of the biggest names in the MLB, with Los Angeles Angels slugger Mike Trout joining the likes of the Philadelphia Phillies’ Kyle Schwarber and Trea Turner, the Los Angeles Dodgers’ Mookie Betts and the Colorado Rockies’ Nolan Arenado.    

Team USA manager Mark DeRosa believes the American line-up is conceivably the “greatest USA team ever assembled” and is relishing the fact that the defending champions will head into the tournament as the team everyone wants to beat.    

“We’ll be the hunted,” DeRosa acknowledged in a recent interview, adding that he is hoping to build an atmosphere of excitement amongst the US squad as they get the rare opportunity to join forces in an international setting.      

“I want there to be a buzz,” DeRosa said. “This is an opportunity to grow, and be great, and to represent your country and get to meet some guys you may never be in a batting practice group with.”    

Ohtani leads Japan challenge   

The U.S. will face Mexico, Colombia, Canada and Great Britain in Pool C, with all games taking place at Chase Field in Phoenix, the home of the Arizona Diamondbacks.  

Yet the star-studded U.S. roster is by no means the only one in the tournament with box office appeal.    

Japan, who won the inaugural classic in 2006 and successfully defended the title three years later, will be chasing a record third world crown with all eyes on two-way star Ohtani.   

Los Angeles Angels ace Ohtani, the 2021 American League Most Valuable Player, leads a Japan team that will play all of its first-round games at the Tokyo Dome, which is hosting Pool B.   

Ohtani says playing in the classic for Japan had been a dream ever since watching the tournament as a fan in 2006.    

“Just watching the best players in Japan playing together as a team against the best in the world was so exciting,” he said earlier this year. “Now that I’m in that position, I want to show people what I can do.”    

Other teams in the group include South Korea, Australia, China and the Czech Republic.      

Ohtani, who is expected to command a record-breaking contract when he enters free agency after this season, will be playing in front of Japanese fans for the first time in more than five years.    

The 28-year-old was originally due to play in the 2017 World Baseball Classic but was ruled out with an ankle injury.    

The Dominican Republic, meanwhile, the 2013 champions, are also looming large as one of the favorites for the title.    

The Dominicans’ largely MLB-based squad boasts the likes of San Diego Padres duo Manny Machado and Juan Soto although Toronto Blue Jays slugger Vladimir Guerrero Jr. has withdrawn from the roster. Guerrero pulled out on Saturday citing knee soreness.      

The Dominican Republic head a stacked Pool D staged at Miami’s LoanDepot Park which includes a powerful Puerto Rico team, Venezuela, Israel and Nicaragua.      

The tournament opens on Wednesday with Pool A games in Taiwan. Pool A includes Taiwan, Netherlands, Cuba, Italy and Panama. 
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“Creed III” punched above its weight at the domestic box office in its first weekend in theaters. The MGM release knocked “Ant-Man and the Wasp: Quantumania” out of first place and far surpassed both industry expectations and the opening weekends of the first two movies in the franchise.

Playing in 4,007 locations in North America, “Creed III” earned an estimated $58.7 million in ticket sales, according to studio estimates Sunday. Going into the weekend, analysts expected the film to open in the $30 million range. The first “Creed” debuted at $29 million in 2015 and “Creed II” opened to $35 million in 2018.

Michael B. Jordan made his directorial debut with “Creed III,” which pits his character Adonis against a childhood friend, Dame, played by Jonathan Majors. It’s the first in the Rocky/Creed films to not feature Sylvester Stallone, who chose not to return because of creative differences.

“This is beyond all of our expectations. And we knew that we had something special — we tested the movie and it tested great, but the public responded so resoundingly to it,” said Erik Lomis, MGM’s head of distribution. “Everything went right here starting with the movie itself … It was just up to us not to break it when they gave it to us, and we didn’t.”

Strong reviews helped “Creed III,” which is currently sitting at an 87% on Rotten Tomatoes, while audiences gave it an A- CinemaScore. The audience was largely male (63%), diverse (36% Black, 28% Latino, 23% white and 13% Asian/other) and young (55% between 18 and 34) according to exit polls.

Over 80% of the general audience said the film was a “definite recommend.” With Black audiences, that number ballooned to 89%.

“I’ve been doing this a long time and that’s rarefied air,” Lomis said. “People love the movie.”

It’s also the most expensive “Creed” film, with a reported production budget of $75 million, compared to the others which cost $35 million and $50 million. Internationally, “Creed III” earned $41.8 million from 75 markets, making its global debut $100.4 million.

It’s a big moment for Amazon, who acquired MGM for $8.5 billion last year, and could have simply released “Creed III” on its streaming service with a limited theatrical run. But they chose theatrical, and it paid off.

“Amazon threw their weight behind this movie like only they can do,” Lomis said. “They supercharged the campaign with marketing support across all their verticals on the platform and beyond the platform. That shows a commitment to the theatrical business model from Amazon and MGM, which I think should be exciting to everybody.”

The company’s next major theatrical release is the Ben Affleck-directed “Air,” starring Matt Damon, out next month.

“Ant-Man 3″ slipped to a distant second in its third weekend in theaters with $12.5 million from North America and $22 million internationally. The Marvel and Disney film’s global cume now stands at $419.5 million.

Third place went to Universal’s ” Cocaine Bear,” which added $11 million in its second weekend in theaters to bring its domestic total to $41.3 million.

Crunchyroll’s “Demon Slayer: Kimetsu No Yaiba – To The Swordsmith Village” placed fourth with $10.1 million. The series is based on Koyoharu Gotouge’s manga about a boy avenging his family.

Lionsgate and Kingdom Story Company’s “Jesus Revolution” rounded out the top five with $8.7 million. The film starring Kelsey Grammer as a pastor in the 1970s has made $30.5 million in two weekends in theaters against a $15 million production budget.

Opening outside of the top five was Guy Ritchie’s “Operation Fortune: Ruse de Guerre,” a spy caper with Jason Statham, Hugh Grant and Aubrey Plaza that made $3.2 million from 2,168 locations this weekend. The film, originally an STX release, was in distribution limbo for some time. Lionsgate recently stepped in to oversee the domestic rollout.

The success of “Creed III” bodes well for other releases coming in March, including “John Wick Chapter 4” and “Shazam! Fury of the Gods.”

“We’re going to have an incredible March,” said Paul Dergarabedian, the senior media analyst for Comscore. “It’s going to feel more like summer than spring with hits coming one after the next that will create incredible momentum for the summer movie season.”

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

1. “Creed III,” $58.7 million.  

2. “Ant-Man and the Wasp: Quantumania,” $12.5 million.  

3. “Cocaine Bear,” $11 million.  

4. “Demon Slayer: Kimetsu No Yaiba – To The Swordsmith Village,” $10.1 million. 5. “Jesus Revolution,” $8.7 million.  

5. “Avatar: The Way of Water,” $3.6 million.  

6. “Operation Fortune: Ruse de Guerre,” $3.2 million.  

7. “Puss in Boots: The Last Wish,” $2.7 million.  

8. “Magic Mike’s Last Dance,” $1.2 million.  

9. “80 for Brady,” $845,000.
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