MAHENTO

Mexico City taco stand earns Michelin star

MEXICO CITY — Newly minted Michelin-starred chef Arturo Rivera Martínez stood over an insanely hot grill Wednesday at the first Mexican taco stand ever to get a coveted star from the French dining guide and did exactly the same thing he’s been doing for 20 years: searing meat.

Though Michelin representatives came by Wednesday to present him with one of the company’s heavy, full-sleeved, pristine white chef’s jackets, he didn’t put it on: In this tiny business, which measures 3 meters by 3 meters, the heat is intense.

At Mexico City’s Tacos El Califa de León, in the scruffy-bohemian San Rafael neighborhood, there are only four things on the menu, all tacos, and all of which came from some area around a cow’s rib, loin or fore shank.

“The secret is the simplicity of our taco. It has only a tortilla, red or green sauce, and that’s it. That, and the quality of the meat,” said Rivera Martínez. He’s also probably the only Michelin-starred chef who, when asked what beverage should accompany his food, answers “I like a Coke.”

It’s actually more complicated than that. El Califa de León is the only taco stand among the 16 Mexican restaurants given one star, as well as two eateries that got two stars. Almost all the rest are pretty darn posh eateries.

In fact, other than perhaps one street food stand in Bangkok, El Califa de León is probably the smallest restaurant ever to get a Michelin star: Half of the 9.29 square-meter space is taken up by a solid steel plate grill that’s hotter than the salsa.

The other half is packed with standing customers clutching plastic plates and ladling salsa, and the female assistant who rolls out the rounds of tortilla dough constantly.

In a way, El Califa de León is a tribute to resistance to change. It has been doing the same four things since 1968.

Thousands of times a day, Rivera Martínez grabs a fresh, thinly sliced fillet of beef from a stack and slaps it on the super-hot steel grill; it sizzles.

He tosses a pinch of salt over it, squeezes half a lime on top, and places a soft round of freshly rolled tortilla dough onto the solid metal slab to puff up.

After less than a minute — he won’t say exactly how long because “that’s a secret” — he flips the beef over with a spatula, flips the tortilla, and very quickly scoops the cooked, fresh tortilla onto a plastic plate, places the beef on top and calls out the customer’s name who ordered it.

Any sauces — fiery red or equally atomic green — are added by the customer. There is no place to sit and at some times of day, no place to stand because the sidewalk in front of the business was taken over by street vendors hawking socks and batteries and cell phone accessories years ago.

Not that you really would want to eat inside the tiny taco restaurant. The heat on a spring day is overwhelming.

The heat is one of the few secrets Rivera Martínez would share. The steel grill must be heated to 360 Celsius. Asked how it felt to get a Michelin star, he said in classic Mexico City slang, “está chido … está padre,” or “it’s neat, it’s cool.” 

The prices are quite high by Mexican standards. A single, generous but not huge taco costs nearly $5. But many customers are convinced it’s the best, if not the cheapest, in the city.

“It’s the quality of the meat,” said Alberto Muñoz, who has been coming here for about eight years. “I have never been disappointed. And now I’ll recommend it with even more reason, now that it has a star.”

Muñoz’s son, Alan, who was waiting for a beef taco alongside his father, noted “this is a historic day for Mexican cuisine, and we’re witnesses to it.”

It really is about not changing anything — the freshness of the tortillas, the menu, the layout of the restaurant. Owner Mario Hernández Alonso won’t even reveal where he buys his meat.

Times have changed, though. The most loyal customer base for El Califa de León originally came from politicians of the old ruling PRI party, whose headquarters is about five blocks away. But the party lost the presidency in 2018 and has gone into a steady decline, and now it’s rare to see anyone in a suit here.

And Hernández Alonso noted that his father Juan, who founded the business, never bothered to trademark the Califa name and so a well-funded, sleek taco chain has opened about 15 airy restaurants in upscale neighborhoods under a similar name. Hernández Alonso has been toying with the idea of getting the business on social media, but that’s up to his grandkids.
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Vatican moves to adapt to hoaxes, Internet

VATICAN CITY — The Vatican on Friday overhauled its process for evaluating alleged visions of the Virgin Mary, weeping statues and other seemingly supernatural phenomena that have marked church history, putting the brakes on making definitive declarations unless the event is obviously fabricated.

The Vatican’s doctrine office revised norms first issued in 1978, arguing that they were no longer useful or viable in the internet age. Nowadays, word about apparitions or weeping Madonnas travels quickly and can harm the faithful if hoaxers are trying to make money off people’s beliefs or manipulate them, the Vatican said.

The new norms make clear that such an abuse of people’s faith can be punishable canonically, saying, “The use of purported supernatural experiences or recognized mystical elements as a means of or a pretext for exerting control over people or carrying out abuses is to be considered of particular moral gravity.”

The Catholic Church has had a long and controversial history of the faithful claiming to have had visions of the Virgin Mary, of statues purportedly weeping tears of blood and stigmata erupting on hands and feet evoking the wounds of Christ.

When confirmed as authentic by church authorities, these otherwise inexplicable signs have led to a flourishing of the faith, with new religious vocations and conversions. That has been the case for the purported apparitions of Mary that turned Fatima, Portugal, and Lourdes, France, into enormously popular pilgrimage destinations.

Church figures who claimed to have experienced the stigmata wounds, including Padre Pio and Pope Francis’ namesake, St. Francis of Assisi, have inspired millions of Catholics even if decisions about their authenticity have been elusive.

Francis himself has weighed in on the phenomenon, making clear that he is devoted to the main church-approved Marian apparitions, such as Our Lady of Guadalupe, who believers say appeared to an Indigenous man in Mexico in 1531.

But Francis has expressed skepticism about more recent events, including claims of repeated messages from Mary to “seers” at the shrine of Medjugorje in Bosnia-Herzegovina, even while allowing pilgrimages to take place there.

“I prefer the Madonna as mother, our mother, and not a woman who’s the head of a telegraphic office, who sends a message every day at a certain time,” Francis told reporters in 2017.

The new norms reframe the Catholic Church’s evaluation process by essentially taking off the table whether church authorities will declare a particular vision, stigmata or other seemingly divinely inspired event supernatural.

Instead, the new criteria envisages six main outcomes, with the most favorable being that the church issues a noncommittal doctrinal green light, a so-called “nihil obstat.” Such a declaration means there is nothing about the event that is contrary to the faith, and therefore Catholics can express devotion to it.

The bishop can take more cautious approaches if there are doctrinal red flags about the reported event. The most serious envisages a declaration that the event isn’t supernatural or that there are enough red flags to warrant a public statement “that adherence to this phenomenon is not allowed.”

The aim is to avoid scandal, manipulation and confusion, and the Vatican fully acknowledged the hierarchy’s own guilt in confusing the faithful with the way it evaluated and authenticated alleged visions over the centuries.

The most egregious case was the flip-flopping determinations of authenticity by a succession of bishops over 70 years in Amsterdam about the purported visions of the Madonna at the Our Lady of All Nations shrine.

Another similar case prompted the Vatican in 2007 to excommunicate the members of a Quebec-based group, the Army of Mary, after its founder claimed to have had Marian visions and declared herself the reincarnation of the mother of Christ.

The revised norms acknowledge the real potential for such abuses and warn that hoaxers will be held accountable, including with canonical penalties.

The norms also allow that an event might at some point be declared “supernatural,” and that the pope can intervene in the process. But “as a rule,” the church is no longer in the business of authenticating inexplicable events or making definitive decisions about their supernatural origin.

And at no point are the faithful ever obliged to believe in the particular events, said Argentine Cardinal Víctor Manuel Fernández, the head of the Vatican doctrine office.

“The church gives the faithful the freedom to pay attention” or not, he said at a news conference.

Despite the new criteria, he said the church’s past decision-making on alleged supernatural events — such as at Fatima, Guadalupe or Lourdes — remains valid.

“What was decided in the past has its value,” he said. “What was done remains.”

To date, fewer than 20 apparitions have been approved by the Vatican over its 2,000-year history, according to Michael O’Neill, who runs the online apparition resource The Miracle Hunter.

Neomi De Anda, executive director of the International Marian Research Institute at the University of Dayton, said the new guidelines represent a significant and welcome change to the current practice, while restating important principles.

“The faithful are able to engage with these phenomena as members of the faithful in popular practices of religion, while not feeling the need to believe everything offered to them as supernatural as well as the caution against being deceived and beguiled,” she said in an email.

Whereas in the past the bishop often had the last word unless Vatican help was requested, now the Vatican must sign off on every recommendation proposed by a bishop.

Robert Fastiggi, who teaches Marian theology at the Sacred Heart Major Seminary in Detroit, Michigan and is an expert on apparitions, said at first glance that requirement might seem to take authority away from the local bishop.

“But I think it’s intended to avoid cases in which the Holy See might feel prompted to overrule a decision of the local bishop,” he said.

“What is positive in the new document is the recognition that the Holy Spirit and the Blessed Mother are present and active in human history,” he said. “We must appreciate these supernatural interventions but realize that they must be discerned properly.”

He cited the biblical phrase that best applies: “Test everything, retain what is good.”
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US bike shops boomed early in pandemic, now facing bumpy ride

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Annual rich list says Paul McCartney is Britain’s 1st billionaire musician

LONDON — Paul McCartney is a billionaire Beatle.

According to figures released Friday, the former member of the Fab Four is the first British musician to be worth 1 billion pounds ($1.27 billion).

The annual Sunday Times Rich List calculated that the wealth of the 81-year-old musician and his wife, Nancy Shevell, had grown by 50 million pounds since last year thanks to McCartney’s 2023 Got Back tour, the rising value of his back catalogue and Beyonce’s cover of the Beatles’ “Blackbird” on her “Cowboy Carter” album.

A “final” Beatles song, “Now and Then,” was also released in November and topped music charts in the United States, the United Kingdom and other countries. Surviving Beatles McCartney and Ringo Starr completed a demo track recorded in 1977 by the late John Lennon, adding in a guitar recording by George Harrison, who died in 2001.

The newspaper estimated 50 million pounds of the couple’s wealth is due to Shevell, daughter of the late U.S. trucking tycoon Mike Shevell.

McCartney ranked 165th overall on the newspaper’s respected and widely perused list of the U.K.’s 350 richest people. The top spot went to Gopi Hinduja and his family, who own the banking, media and entertainment conglomerate Hinduja Group and are worth an estimated 37 billion pounds ($47 billion).

Other entertainment figures on the list include “Harry Potter” author J.K. Rowling, whose fortune is estimated at 945 million pounds ($1.2 billion), and singer Elton John, estimated to be worth 470 million pounds ($597 million).

King Charles III ranked 258th with an estimated wealth of 610 million pounds ($775 million). The king’s fortune includes the large inherited private estates of Sandringham in England and Balmoral in Scotland. The total does not include items held in trust by the monarch for the nation, such as the Crown Jewels.
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World No. 1 PGA golfer arrested outside event

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Take a stroll through the US president’s backyard

General public gets to visit White House grounds in spring and fall
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Old Hollywood glamour sizzles at National Portrait Gallery exhibit

He captured the most famous faces in 1930s and early ’40s cinema — Garbo, Crawford, Bogart and Gable. Now the work of George Hurrell, one of Hollywood’s greatest portrait photographers, is on display at Washington’s National Portrait Gallery. For VOA News, Cristina Caicedo Smit has the story. Videographer: Hakim Shammo; Video editor: Cristina Caicedo Smit
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Miniature poodle Sage fetches top prize at Westminster Kennel Club Dog Show 

NEW YORK — A sprightly miniature poodle named Sage was crowned “Best in Show” on Tuesday at the 148th annual Westminster Kennel Club Dog Show, winning the grand prize in the most prestigious competition among pure-bred canines in the United States.

Sage, the finalist representing 21 breeds classified as non-sporting dogs, triumphed over more than 2,500 top-ranked dogs competing in the two-day contest, held at the USTA Billie Jean King National Tennis Center in the Queens borough of New York City.

Sage, a 4-year-old black-colored female groomed in the fine, fluffy topiary style traditional for poodles, competed head to head against the winners in six other groups — terriers, hounds, herding dogs, working dogs, sporting dogs and toy dogs.

She was the first female to win the top prize at Westminster since 2020, according to commentators on the Fox Sports channel, which broadcast the event live.

And she became the fourth miniature poodle to claim the top prize in the 148-year history of the contest, with the trophy previously going to her breed in 1943, 1959 and 2002, according to kennel club records.

The larger “standard” poodle breed has been declared Best in Show five times, most recently in 2020, and the smaller “toy” poodle breed has won twice.

The poodle originated as a hunting dog in Germany and is now recognized as the national dog of France.

Sage’s handler, Kaz Hosaka, cried tears of joy and carried his prized poodle in his arms around floor of the auditorium to cheers of the crowd as he celebrated what he said was his 45th year participating at the Westminster dog show and the last of his career.

The Westminster dog show bills itself as the second-oldest U.S. sporting event, behind only the Kentucky Derby thoroughbred horse race. This year’s competition drew a field of contenders representing 200 breeds from all 50 U.S. states and 12 other countries.

Mercedes, a female 4-year-old German shepherd, was named runner-up for the overall contest, after first winning the top prize in the herding dog group.

Along with Sage and Mercedes, the two other finalists chosen on Monday were Comet the Shih Tzu, representing the toy group, and Louis, the Afghan hound leading the hound group.

Rounding out the finalists were three group winners chosen on Tuesday – Micah the black cocker spaniel, representing sporting dogs; Monty, the giant schnauzer, leading the working dogs; and Frankie, a colored bull terrier from the terrier group.
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Alice Munro, Canadian Nobel Prize-winning author, dies at 92

ottawa — Nobel Prize-winning Canadian writer Alice Munro, whose exquisitely crafted tales of the loves, ambitions and travails of small-town women in her native land made her a globally acclaimed master of the short story, has died at the age of 92, her publisher said on Tuesday. 

Munro died at her home in Port Hope, Ontario, said Kristin Cochrane, chief executive officer of McClelland & Stewart.  

“Alice’s writing inspired countless writers … and her work leaves an indelible mark on our literary landscape,” she said in a statement. 

The Globe and Mail newspaper, citing family members, said Munro had died on Monday after suffering from dementia for at least a decade. 

Munro published more than a dozen collections of short stories and was honored with the Nobel Prize in Literature in 2013. 

Her stories explored sex, yearning, discontent, aging, moral conflict and other themes in rural settings with which she was intimately familiar, the villages and farms in the Canadian province of Ontario. She was adept at fully developing complex characters within the limited pages of a short story. 

“Alice Munro was a Canadian literary icon. For six decades, her short stories captivated hearts around Canada and the world,” Canadian Heritage Minister Pascale St-Onge said on the X social media network. 

Munro, who wrote about ordinary people with clarity and realism, was often likened to Anton Chekhov, the 19th century Russian known for his brilliant short stories, a comparison the Swedish Academy cited in honoring her with the Nobel Prize. 

Calling her a “master of the contemporary short story,” the Academy also said: “Her texts often feature depictions of everyday but decisive events, epiphanies of a kind, that illuminate the surrounding story and let existential questions appear in a flash of lightning.” 

In an interview with the Canadian Broadcasting Corporation after winning the Nobel, Munro said, “I think my stories have gotten around quite remarkably for short stories, and I would really hope that this would make people see the short story as an important art, not just something that you played around with until you’d got a novel written.” 

Munro’s works included “Dance of the Happy Shades” (1968), “Lives of Girls and Women” (1971), “Who Do You Think You Are?” (1978), “The Moons of Jupiter” (1982), “Hateship, Friendship, Courtship, Loveship, Marriage” (2001), “Runaway” (2004), “The View from Castle Rock” (2006), “Too Much Happiness” (2009) and “Dear Life” (2012). 

The characters in her stories were often girls and women who lead seemingly unexceptional lives but struggle with tribulations ranging from sexual abuse and stifling marriages to repressed love and the ravages of aging. 

“Last month I reread all of Alice Munro’s books. I felt the need to be close to her. Every time I read her is a new experience. Every time changes me. She will live forever,” Canadian author Heather O’Neill said in a post on X. 

Munro’s story of a woman who starts losing her memory and agrees to enter a nursing home titled “The Bear Came Over the Mountain,” from “Hateship, Friendship, Courtship, Loveship, Marriage,” was adapted into the Oscar-nominated 2006 film “Away From Her,” directed by fellow Canadian Sarah Polley. 

‘Shame’ a driving force of characters 

Canadian novelist Margaret Atwood, writing in The Guardian after Munro won the Nobel, summarized her work by saying: “Shame and embarrassment are driving forces for Munro’s characters, just as perfectionism in the writing has been a driving force for her: getting it down, getting it right, but also the impossibility of that. Munro chronicles failure much more often than she chronicles success, because the task of the writer has failure built in.” 

American novelist Jonathan Franzen wrote in 2005, “Reading Munro puts me in that state of quiet reflection in which I think about my own life: about the decisions I’ve made, the things I’ve done and haven’t done, the kind of person I am, the prospect of death.” 

The short story, a style more popular in the 19th and early 20th century, has long taken a back seat to the novel in popular tastes and in attracting awards. But Munro was able to infuse her short stories with a richness of plot and depth of detail usually more characteristic of full-length novels. 

“For years and years, I thought that stories were just practice, ’til I got time to write a novel. Then I found that they were all I could do and so I faced that. I suppose that my trying to get so much into stories has been a compensation,” Munro told the New Yorker magazine in 2012. 

Second Canadian to win Nobel

Munro was the second Canadian-born writer to win the Nobel literature prize but the first with a distinctly Canadian identity. Saul Bellow, who won in 1976, was born in Quebec but raised in the U.S. city of Chicago, Illinois, and was widely seen as an American writer. 

Munro also won the Man Booker International Prize in 2009 and the Giller Prize — Canada’s most high-profile literary award — twice. 

Alice Laidlaw was born to a hard-pressed family of farmers on July 10, 1931, in Wingham, a small town in the region of southwestern Ontario that serves as the setting for many of her stories, and started writing in her teens. 

She married James Munro in 1951 and moved to Victoria, British Columbia, where the two ran a bookstore. They had four daughters, one died just hours old, before divorcing in 1972. Afterward, Munro moved back to Ontario. Her second husband, geographer Gerald Fremlin, died in April 2013. 
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Iranian director Rasoulof urges film world to support colleagues

cannes, france — Film director Mohammad Rasoulof, who has secretly fled Iran for an undisclosed location in Europe, urged the world film community on Tuesday to provide “strong support” to his colleagues.

Rasoulof, who was sentenced to jail on national security charges, and whose latest movie will compete at this month’s Cannes film festival, said he fears for the “safety and well-being” of fellow filmmakers still in Iran.

“The global film community must provide strong support to the makers of these films,” Rasoulof said in a statement to Agence France-Presse.

Rasoulof announced on Monday he had escaped clandestinely from Iran, just days after it emerged that he had been sentenced to eight years in prison for “collusion against national security.”

Rasoulof had been under pressure from Iranian authorities to withdraw his latest film, “The Seed of the Sacred Fig,” from Cannes, where it will compete for the prestigious event’s top prize, the Palme d’Or.

Cannes director Thierry Fremaux said the festival was working with the French Foreign Ministry in the hope of ensuring that Rasoulof, 51, can attend his premiere next week.

Rasoulof’s statement said he did not yet know if he could attend the premiere.

“I arrived in Europe a few days ago after a long and complicated journey,” said Rasoulof, who won the Berlin International Film Festival’s Golden Bear in 2020 for “There Is No Evil.”

He said his latest movie set out to portray a version of Iran “that is far from the narrative dominated by censorship in the Islamic Republic and is closer to reality.”

After he and his filmmaking colleagues came under pressure from the authorities, Rasoulof learned that his “unfair” eight-year sentence would be enforced imminently, and he felt he had no choice but to flee.

“I had to choose between prison and leaving Iran,” he wrote. “With a heavy heart, I chose exile.”

While some colleagues involved in the film were also able to leave the country, others remain there.

“My thoughts go to every single one of them, and I fear for their safety and well-being,” he said.
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‘Kingdom of the Planet of the Apes’ reigns at the box office with $56.5 million opening

LOS ANGELES — “Kingdom of the Planet of the Apes” reigned over the weekend box office with a $56.5 million North American opening, according to studio estimates Sunday, giving a needed surge to an uncertain season in theaters.

The film from 20th Century Studios and Disney that built on the rebooted “Apes” trilogy of the 2010s had the third highest opening of the year, after the $81.5 million debut of “Dune: Part Two” in early March and the $58.3 million domestic opening of “Kung Fu Panda 4” a week later.

The strong performance for “Kingdom of the Planet of the Apes” — it played even better internationally with a global total of $129 million — comes a week after a tepid start for Ryan Gosling’s “The Fall Guy” signaled that the summer of 2024 is likely to see a major drop-off after the “Barbenheimer” magic of 2023.

“Planet of the Apes” easily made more than the rest of the top 10 combined.

“The Fall Guy” fell to No. 2 with a $13.7 million weekend and a two-week total of $49.7 million for Universal Pictures.

Zendaya’s “Challengers” was third with $4.7 million and has earned $38 million in three weeks for Amazon MGM studios.

The opening for “Kingdom of the Planet of the Apes,” helmed by “Maze Runner” director Wes Ball, was the second best in the series, after the $72 million opening weekend of 2014’s “Dawn of the Planet of the Apes.”

It’s the 10th movie in the “Planet of the Apes” franchise that began in 1968 with the Charlton Heston original with a twist ending.

“This franchise has never been allowed to lose its momentum,” said Paul Dergarabedian, the senior media analyst for Comscore. “There are very few franchises that have this kind of longevity.”

And it really is the property itself. The new film shares no central actors or characters with its predecessors.

“There’s just this love for the way it melds sci-fi with social commentary and straight-up popcorn entertainment,” Dergarabedian said.

“Kingdom” came with strong reviews and positive buzz (80% fresh on Rotten Tomatoes and a “B” CinemaScore). It was especially praised for its visual effects and the way its CGI has caught up with its primates-on-horseback aesthetic even since the last film, 2017’s “War for the Planet of the Apes.”

Mark Kennedy of The Associated Press called it “thrilling” and “visually stunning.”

The shot in the arm is welcome for the movie business, but there is little certainty in the forthcoming summer.

The year so far, lacking an early Marvel movie like 2023’s “Guardians of the Galaxy Vol. 3,” is running 21% last year’s mid-May total.

While there are potential blockbusters that feel like safe bets including “Despicable Me 4” and “Deadpool & Wolverine” in July, others like “Furiosa: A Mad Max Saga” later this month and “Twisters” later in the summer feel like they could break either way.

Pixar once brought almost guaranteed hits, but June’s “Inside Out 2” may not thrive like the 2015 original.

“There used to be sure bets we cannot necessarily bank on anymore,” Dergarabedian said. “It is going to be a bit of a hit-or-miss slate.”

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

1. “Kingdom of the Planet of the Apes,” $56.5 million.

2. “The Fall Guy,” $13.7 million.

3. “Challengers,” $4.7 million.

4. “Tarot,” $3.45 million.

5. “Godzilla x Kong: The New Empire,” $2.5 million.

6. “Unsung Hero,” $ 2.25 million.

7. “Kung Fu Panda 4,” $2 million.

8. “Civil War,” $1.8 million.

9. “Star Wars: Episode 1 – The Phantom Menace,” $1.5 million.

10. “Abigail,” $1.1 million.
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Cannes film festival set to unfurl against backdrop of wars, protests, potential strikes

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‘The Fall Guy’ gives Hollywood muted summer kickoff with $28.5M opening

New York — “The Fall Guy,” the Ryan Gosling-led, action-comedy ode to stunt performers, opened below expectations with $28.5 million, according to studio estimates Sunday, providing a lukewarm start to a summer movie season that’s very much to be determined for Hollywood.

The Universal Pictures release opened on a weekend that Marvel has regularly dominated with $100 million-plus launches. (In 2023, that was “Guardians of the Galaxy Vol. 3” with a $118 million debut.) But last year’s strikes jumbled this year’s movie calendar; “Deadpool & Wolverine,” originally slated to open this weekend, is instead debuting in July.

So in place of a superhero kickoff, the summer launch went to a movie about the stunt performers who anonymously sacrifice their bodies for the kind of action sequences blockbusters are built on. Going into the weekend, forecasts had the film opening $30 million to $40 million.

“The Fall Guy,” directed by former stuntman and “Deadpool 2” helmer David Leitch, rode into the weekend with the momentum of glowing reviews and the buzz of a SXSW premiere. But it will need sustained interest to merit its $130 million production budget. It added $25.4 million in overseas markets.

Working in its favor for a long run: strong audience scores (an “A-” CinemaScore) and good reviews (83% fresh on Rotten Tomatoes). Jim Orr, distribution chief for Universal, believes things line up well for “The Fall Guy” in the coming weeks.

“We had a very solid opening,” said Orr. “We’re looking forward to a very long, very robust, very successful run throughout the domestic box office for literally weeks if not months to come.”

But the modest start for “The Fall Guy” hints at larger concerns for the film industry. Superhero films haven’t been quite the box-office behemoth they once were, leading studios to search for fresher alternative. “The Fall Guy” seemed to check all the boxes, with extravagant action sequences, one of the hottest stars in the business, a director with a track-record for crowd pleasers and very good reviews.

But instead, the opening for “The Fall Guy,” loosely based on the 1980s TV series, only emphasized that the movie business is likely to struggle to rekindle the fervor of last year’s “Barbenheimer” summer. “The Fall Guy” stars one from each: Gosling, in his first post-Ken role, and Emily Blunt, of “Oppenheimer.” Both were Oscar nominated.

“It’s going to be a very interesting, nontraditional summer this year,” said Paul Dergarabedian, senior media analyst for Comscore.

In part due to the effects of last year’s work stoppages, there are fewer big movies hitting theaters. Expectations are that the total summer box office will be closer to $3 billion than the $4 billion that’s historically been generated.

“The summer season is just getting started, so let’s give ‘The Fall Guy’ a chance to build that momentum over time. It’s a different type of summer kickoff film,” said Dergarabedian. “There’s always huge expectations placed on any film that kicks off the summer movie season, but this isn’t your typical summer movie season.”

In a surprise, No. 2 at the box office went to the Walt Disney Co. rerelease of “Star Wars: The Phantom Menace.” The first episode to George Lucas’ little-loved prequels collected $8.1 million over the weekend, 25 years after “Phantom Menace” grossed $1 billion.

Last week’s top film, the Zendaya tennis drama “Challengers,” slid to third place with $7.6 million in its second week. That was a sold hold for the Amazon MGM release, directed by Luca Guadagnino, dipping 49% from its first weekend.

The Sony Screen Gems supernatural horror film “Tarot” also opened nationwide. It debuted with $6.5 million, a decent enough start for a low-budget release but another example of horror not quite performing this year as it has the last few years.

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

1. “The Fall Guy,” $28.5 million.

2. “Star Wars: The Phantom Menace,” $8.1 million.

3. “Challengers,” $7.6 million.

4. “Tarot,” $6.5 million.

5. “Godzilla x Kong: The New Empire,” $4.5 million.

6. “Civil War,” $3.6 million.

7. “Unsung Hero,” $3 million.

8. “Kung Fu Panda 4,” $2.4 million.

9. “Abigail,” $2.3 million.

10. “Ghostbuster: Frozen Empire,” $1.8 million.
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Prada focuses generational transition on Italian artisans

TORGIANO, Italy — The Prada Group is expanding its production footprint in Italy, including dozens of new jobs at its knitwear factory in Umbria, leaning into “Made in Italy” as integral to the brand’s ethos and developing new artisanal talent to ease the luxury group through a generational shift in its workforce.

Prada CEO Andrea Guerra, who was brought in last year as part of the generational change in family-run Prada’s management, said at an unveiling of the expanded plant Tuesday that the company is investing 60 million euros ($65 million) in production this year.

At Torgiano, Prada has added 30 new jobs this year, alongside 65 last year, bringing the workforce to some 220 employees, mostly women, to create knitwear for the Prada and Miu Miu brands, a key category for the group. The site had just 39 employees when Prada bought it in 2001.

“For many years, Torgiano was a small, important place, linked to the Umbrian knitwear tradition,” mostly dedicated to product research and development, Guerra said. “In the last six or seven years, with the extraordinary growth in knitwear, we decided to create an all-around industrial hub,” adding production to a reinforced R&D center.

The innocuous low-slung plant, identified by a simple, small Prada nameplate near the gate, is at the heart of a network that includes dozens of smaller companies that together create some 30,000 pieces of knitwear a month for the global luxury group. They include red crocheted Miu Miu culottes to soft gray Prada cardigans that have become a trademark.

Guerra described the Milan-based fashion group’s manufacturing footprint in central Italy as a “network of intelligent relationships and craftsmanship merged with a constant capacity to bring innovation to the market.”

Prada’s investments to exert greater control over its supply chain stand out against the backdrop of a recent investigation that revealed sweatshop conditions in Chinese-owned factories producing luxury goods for other Italian brands in the Lombardy region, where the Italian fashion capital Milan is located. The production arm of Giorgio Armani has been put under receivership as part of an ongoing supply chain probe.

Prada has focused on what it calls vertical integration of its supply chain — working with smaller companies, some with just a handful of craftspeople, that provide specific, sometimes unique, skills. For its knitwear operation, Prada works with some 60 smaller companies that it refers to as “partners” or “collaborators.”

“Contractors, subcontractors, that is not something tied to this world. There are production phases that are assigned to our collaborators, our partners,” Guerra said, adding: “The way I work inside, and the way I work outside needs to be the same.”

Lorenzo Bertelli, marketing director and head of corporate social responsibility who is slated to take over the company from his parents Patrizio Bertelli and Miuccia Prada, said a strong governance is the key to avoiding “such incidents.” He credited his father with starting Prada on the road to integrating its supply chain in the 1990s.

Audits of suppliers, which have so far been voluntary, will become mandatory in 2025 under the Corporate Sustainability Reporting legislation, aimed at controlling abuses, said Stefania Saviolo, a fashion and luxury expert at Milan’s Bocconi University. Publicly quoted companies like Prada, which are used to a level of transparency and reporting, will likely have an easier time than others, she said.

Integrating the supply chain doesn’t just mean that a major player buys up smaller companies, she said, but they may invest in specific machinery, or help them secure bank financing. “It is not ownership, it is a longer transaction along the model of partnership,” Saviolo said, adding that such relationships also provide a sense of security to the smaller companies more vulnerable to market crashes.

Noting that the luxury and fashion industries have long relied on third-party manufacturing, Bernstein global luxury goods analyst Luca Solca said the kind of investments by Prada to integrate manufacturing processes in-house “is a sort of catch-up with best-in-class-players in the industry.”

A key part of Prada’s investments are aimed at securing know-how into the next generation, a transition the company has been preparing also in its management and creative roles.

Finding new workers with both experience and passion is difficult, even in a region where knitwear is part of the local tradition, said Lorenzo Teodori, who runs the Torgiano plant.

To fill that gap, Prada runs an internal academy as needed at its 23 Italian production sites to train young craftspeople. The next one in Torgiano starts in the fall, with experienced workers training the next generation.

“Through the Prada Academy, we have seen how this dialogue is still alive and successful,” Bertelli said. “We need it to train the future technicians of tomorrow, who in turn will be the teachers in the future. It is a fundamental cycle for our group.”
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Vatican and Rome begin dash to 2025 Jubilee with papal bull, construction

VATICAN CITY — The Vatican crossed a key milestone Thursday in the runup to its 2025 Jubilee with the promulgation of the official decree establishing the Holy Year. It’s a once-every-quarter-century event that is expected to bring some 32 million pilgrims to Rome and has already brought months of headaches to Romans.

Pope Francis presided over a ceremony in the atrium of St. Peter’s Basilica for the reading of the papal bull, or official edict, that laid out his vision for a year of hope: He asked for gestures of solidarity for the poor, prisoners, migrants and Mother Nature.

“Hope is needed by God’s creation, gravely damaged and disfigured by human selfishness,” Francis said in a vigil service afterward. “Hope is needed by those peoples and nations who look to the future with anxiety and fear.”

The pomp-filled event, attended by cardinals, bishops and ordinary faithful, kicked off the final seven-month dash of preparations and public works projects to be completed by December 24, when Francis opens the basilica’s Holy Door and formally inaugurates the Jubilee.

In a novelty, Francis announced in the papal bull that he would also open a Holy Door in a prison “as a sign inviting prisoners to look to the future with hope and a renewed sense of confidence.”

For the Vatican, the Holy Year is a centuries-old tradition of the faithful making pilgrimages to Rome to visit the tombs of Saints Peter and Paul, and receiving indulgences for the forgiveness of their sins in the process. For the city of Rome, it’s a chance to take advantage of some 4 billion euros ($4.3 billion) in public funds to carry out long-delayed projects to lift the city out of years of decay and neglect.

“In a beautiful city, you live better,” said the Vatican’s Jubilee point-person, Archbishop Renato Fisichella, who himself is not indifferent to the added bonus of Jubilee funding. “Rome will become an even more beautiful city, because it will be ever more at the service of its people, pilgrims and tourists who will come.”

Pope Boniface VIII declared the first Holy Year in 1300, and now they are held every 25 years. While Francis called an interim one devoted to mercy in 2015, the 2025 edition is the first big one since St. John Paul II’s 2000 Jubilee, when he ushered the Catholic Church into the third millennium.

As occurred in the runup to 2000, pre-Jubilee public works projects have overwhelmed Rome, with flood-lit construction sites operating around the clock, entire swaths of central boulevards rerouted and traffic snarling the city’s already clogged streets.

The Tiber riverfront for much of the city center is now off limits as work crews create new parks. Piazzas are being repaved, bike paths charted and 5G cells built. The aim is to bring the Eternal City up to par with other European capitals and take advantage of the 1.3 billion euros ($1.4 billion) in special Jubilee funding and some 3 billion euros ($3.2 billion) more in other public and post-pandemic EU funds that are available.

“It’s really putting our patience to the test,” said Tiziana Cafini, who operates a tobacco shop near the Pantheon and says she has taken to walking to work rather than riding a bus into the city center because it gets stuck in traffic. “And it’s not just in the center. There are an infinite number of construction sites all around Rome.”

Though she knows the discomfort will be worth it in the end, the end is still pretty far off. In addition to the Jubilee construction, there’s a longer-term, separate project to extend Rome’s Metro C subway line into Rome’s historic center which has encountered years of delays thanks to archaeological excavations of ancient Roman ruins that must be completed first.

For the next four years at least, central Piazza Venezia and its Imperial Forum-flanked boulevard to the Colosseum are scheduled to be congested and blighted by giant, 14-meter-high green silos that are needed for the subway drilling operation.

“We’re upset, but we’re Romans, we’ll make do,” Cafini said.

Rome Mayor Roberto Gualtieri said recently he was satisfied with the pace of the Jubilee works so far, noting that they got off to a months-delayed start due to the 2022 collapse of Premier Mario Dragi’s government.

But Gualtieri promised they would be completed on time. And in a nod to Romans and tourists who have suffered from the traffic chaos and acute shortage of taxis already, he promised that an extra 1,000 taxi licenses had been approved and would be in use by December.

Yet as of late last month, only two of the 231 city projects had been completed; 57 were under way and another 44 were expected to be started by the end of May, Gualtieri told reporters. Another 18 are up for bids, seven have been assigned, 90 are planned. Thirteen have been canceled.

“We have recovered a lot from the initial delay,” Gualtieri told the foreign press association, adding that he expected the “essential” projects to be completed on time. Other projects were always planned to take longer than the Jubilee but were lumped into the overall project to take advantage of the accelerated timeframe.

The most significant project, and one that has caused the greatest traffic disruption to date, is a new Vatican-area piazza and pedestrian zone connecting Castel St. Angelo with the Via della Conciliazione boulevard that leads to St. Peter’s Square.

Previously, a major thoroughfare divided the two landmarks, causing an unsightly and pedestrian-unfriendly barrier.

The new works call for a tunnel to divert the oncoming traffic underneath the new pedestrian piazza. But that project required re-routing and replacing a huge underground sewage system first, which has only recently been completed. Now crews are working through the night to try to complete the tunnel in time.
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Technology crushing human creativity? Apple’s new iPad ad has strikes nerve online

NEW YORK — A newly released ad promoting Apple’s new iPad Pro has struck quite a nerve online.

The ad, which was released by the tech giant Tuesday, shows a hydraulic press crushing just about every creative instrument artists and consumers have used over the years — from a piano and record player, to piles of paint, books, cameras and relics of arcade games. Resulting from the destruction? A pristine new iPad Pro.

“The most powerful iPad ever is also the thinnest,” a narrator says at the end of the commercial.

Apple’s intention seems straightforward: Look at all the things this new product can do. But critics have called it tone-deaf — with several marketing experts noting the campaign’s execution didn’t land.

“I had a really disturbing reaction to the ad,” said Americus Reed II, professor of marketing at The Wharton School of the University of Pennsylvania. “I understood conceptually what they were trying to do, but … I think the way it came across is, here is technology crushing the life of that nostalgic sort of joy (from former times).”

The ad also arrives during a time many feel uncertain or fearful about seeing their work or everyday routines “replaced” by technological advances — particularly amid the rapid commercialization of generative artificial intelligence. And watching beloved items get smashed into oblivion doesn’t help curb those fears, Reed and others note.

Several celebrities were also among the voices critical of Apple’s “Crush!” commercial on social media this week.

“The destruction of the human experience. Courtesy of Silicon Valley,” actor Hugh Grant wrote on the social media platform X, in a repost of Apple CEO Tim Cook’s sharing of the ad.

Some found the ad to be a telling metaphor of the industry today — particularly concerns about big tech negatively impacting creatives. Filmmaker Justine Bateman wrote on X that the commercial “crushes the arts.”

Experts added that the commercial marked a notable difference to marketing seen from Apple in the past — which has often taken more positive or uplifting approaches.

“My initial thought was that Apple has become exactly what it never wanted to be,” Vann Graves, executive director of the Virginia Commonwealth University’s Brandcenter, said.

Graves pointed to Apple’s famous 1984 ad introducing the Macintosh computer, which he said focused more on uplifting creativity and thinking outside of the box as a unique individual. In contrast, Graves added, “this (new iPad) commercial says, ‘No, we’re going to take all the creativity in the world and use a hydraulic press to push it down into one device that everyone uses.'”

In a statement shared with Ad Age on Thursday, Apple apologized for the ad. The outlet also reported that Apple no longer plans to run the spot on TV.

“Creativity is in our DNA at Apple, and it’s incredibly important to us to design products that empower creatives all over the world,” Tor Myhren, the company’s vice president of marketing communications, told Ad Age. “Our goal is to always celebrate the myriad of ways users express themselves and bring their ideas to life through iPad. We missed the mark with this video, and we’re sorry.”

Cupertino, California-based Apple unveiled its latest generation of iPad Pros and Airs earlier this week in a showcase that lauded new features for both lines. The Pro sports a new thinner design, a new M4 processor for added processing power, slightly upgraded storage and incorporates dual OLED panels for a brighter, crisper display.

Apple is trying to juice demand for iPads after its sales of the tablets plunged 17% from last year during the January-March period. After its 2010 debut helped redefine the tablet market, the iPad has become a minor contributor to Apple’s success. It currently accounts for just 6% of the company’s sales.
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One-of-a-kind Black American quilting tradition collides with retailer Target

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Switzerland wins Eurovision Song Contest 2024 with Nemo’s ‘The Code’

MALMO, Sweden — Switzerland won the Eurovision Song Contest 2024 on Saturday in the Swedish host city Malmo, beating runner-up Croatia.  

Billed as a feel-good celebration of European diversity, this year’s contest was thrust into the political spotlight with calls for Israel to be excluded because of its military campaign in Gaza, triggered by Hamas’ deadly attack on October 7 in Israel.  

Swiss rapper and singer Nemo, 24, won the contest with “The Code,” a drum-and-bass, opera, rap and rock song about Nemo’s journey of self-discovery as a non-binary person. 

“I hope this contest can live up to its promise and continue to stand for peace and dignity for every person in this world,” Nemo said, after receiving the Eurovision trophy on stage. 

“To know that a song that has changed my life and a song where I just speak about my story has touched so many people and maybe inspired other people to stay true to their story is the most insane thing that has ever happened to me,” Nemo said later during a press conference. 

Swiss sing along

Cheers of joy broke out in bars in central Zurich when the winner was announced, and Swiss revelers sang along as Nemo tore through a victory rendition of “The Code.” 

“I think it’s just great, Nemo is fantastic,” said Maha Nater, a 24-year-old kindergarten worker celebrating the win after watching the marathon contest. 

One karaoke bar began blasting out Queen’s “We Are The Champions” as patrons joined in. 

Nemo’s victory would blaze a trail for others who had had to cope with prejudice against non-binary people, Nater said. 

“It sets an example to follow,” she said. 

Croatia places second

Croatia’s Baby Lasagna, real name Marko Purisic, 28, came second with “Rim Tim Tagi Dim,” a song about a young man who leaves home aspiring to become a “city boy” with better opportunities. 

Israel’s Eden Golan, 20, finished fifth in the contest despite demonstrators’ calls for a boycott of the country. 

The female solo artist on Thursday emerged as one of the leading contenders to win after qualifying for the final. 

Booing was heard during Golan’s performance but also applause, a Reuters photographer in the auditorium said. The noise was partly audible in the broadcast viewed by tens of millions of people in Europe and around the world. 

There was also booing when the points of the Israeli jury were presented. 

Protesters claim Eurovision supports genocide

Several thousand protesters gathered in central Malmo ahead of Saturday’s final, waving Palestinian flags and shouting “Eurovision united by genocide,”  The contest’s official slogan is “United by music.” 

A few hundred people later also protested outside the venue, chanting “Eurovision, you can’t hide, you’re supporting genocide.” 

Protesters have been pointing to double standards as the European Broadcasting Union banned Russia from Eurovision in 2022 because of its invasion of Ukraine. 

Police hauled away some protesters before surrounding them and ushering them away, a Reuters reporter outside the arena said. Some protesters were seen lying on the ground after police used pepper spray to disband the demonstration. 

25 countries compete

Twenty-five countries competed in the final after Dutch artist Joost Klein was expelled earlier on Saturday because of a complaint filed by a production crew member. 

Viewer votes made up half of Saturday’s final result, while juries of five music professionals in each participating country made up the other half. 

The Eurovision winner is awarded the contest’s official glass trophy, which is shaped like a classic, old-fashioned microphone, with sand blasted and painted details. The winner also gets to host the competition the following year. 

Nemo broke the fragile prize shortly after receiving it but was given a new one to replace it. 

“I didn’t just break the code, I also broke the trophy,” Nemo said, laughing, at the press conference after the win. 
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