Features

SANTA FE, United States — Alec Baldwin arrived at a New Mexico courthouse on Tuesday for the start of his long-awaited involuntary manslaughter trial over a fatal shooting on the set of a Western movie.

The Hollywood A-lister was pointing a gun at cinematographer Halyna Hutchins during a rehearsal for a scene in “Rust” when it discharged a live round, killing her and wounding the movie’s director.

Baldwin, 66, says he did not know the gun was loaded and did not pull the trigger. Prosecutors say he acted recklessly on set and has repeatedly changed his story since the tragic events of October 2021.

After multiple attempts by Baldwin’s lawyers to have the case thrown out all failed, the matter will now be settled at a courthouse in Santa Fe.

Jury selection was due to get under way on Tuesday morning, with opening arguments expected to follow on Wednesday. The entire trial is scheduled to last around 10 days.

Due to the “30 Rock” actor’s immense fame, and the rarity of on-set deaths, the story has garnered global attention while sharply polarising opinion.

Sympathetic observers view Baldwin as a victim who has been pursued by prosecutors in part due to his status as a celebrity and liberal darling.

Others see the death as the easily avoidable result of a movie star’s allegedly unpredictable and complacent behaviour.

“To watch Mr Baldwin’s conduct on the set of ‘Rust’ is to witness a man who has absolutely no control of his own emotions and absolutely no concern for how his conduct affects those around him,” special prosecutor Kari Morrissey has said.

If found guilty, Baldwin faces up to 18 months in prison. It is not yet known if he plans to take the stand in his defence.

Hutchins’s death occurred almost three years ago, during a rehearsal in a small chapel on the Bonanza Creek Ranch, on a sunny afternoon mid-way through the filming of “Rust”,

Baldwin was practicing a scene in which his character, an aging outlaw who has been cornered in the church by two marshals, draws his Colt six-shooter.

The actor said he was told the gun was safe, was instructed by Hutchins to aim the revolver in her direction, and did not pull the trigger.

Live bullets are in any case banned from movie sets, and Baldwin has said it was not his responsibility as an actor to check.

Filming of “Rust” was halted by the tragedy, but completed last year on location in Montana.

Earlier this year the film’s armourer was convicted of manslaughter in the same courthouse, and sentenced to 18 months in prison.

Her trial revealed arguments the prosecution will likely level against Baldwin.

At the time, armourer Hannah Gutierrez’s defense lawyers said Baldwin “violated some of the most basic gun safety rules you can ever learn”, including never pointing a gun at a person unless you intend to fire it.

“Alec Baldwin’s conduct and his lack of gun safety inside that church on that day is something that he’s going to have to answer for,” responded Morrissey.

“Not with you and not today. That’ll be with another jury, on another day.”

Defence boost

That day has now arrived.

On Monday, Baldwin — dressed in a dark suit and striped tie, wearing thick-rimmed glasses and with his hair clipped short — attended court and took notes as lawyers settled various pre-trial matters.

In a boost for the defence, Judge Mary Marlowe Sommer ruled prosecutors cannot argue Baldwin’s additional role as a producer on “Rust” makes him more culpable.

But the case finally arriving in court is already a victory for prosecutors, who have fended off multiple attempts to have it dismissed.

Among these, Baldwin’s lawyers said damage to the gun caused by an FBI testing lab meant the actor could not get a fair trial.

The FBI found the gun could not have fired without its trigger being pulled — a conclusion the defense say they were robbed of a chance to disprove.

The judge was not convinced, and ordered the trial to proceed.

By Rania Sa’adi
Rapid Transfor-mationalTherapist & Clinaicl Hypnotherapist

In the intricate tapestry of human relationships, men often find themselves navigating through a maze of societal expectations. From short romances to lifelong partnerships, the dynamics of men’s relationships exhibit an array of patterns, some conventional, others peculiar.

Understanding these unconventional relationship patterns offers insight into the diverse ways in which men connect, love and perceive intimacy.

Men are traditionally depicted as strong beings bound by a rigid frame of rules. But contrary to popular belief, men possess a vast spectrum of emotions and desires, shaping their approach to relationships in multifaceted ways.

For some men, their independence dominates their relationship landscape.

They thrive on autonomy and cherish the freedom to explore diverse experiences unhindered by commitment.

These type of men often value flexibility over long-term obligations. 

Their unconventional approach may stem from a desire to prioritise career aspirations, or simply a reluctance to conform to societal expectations.

Intimacy without romance

In the realm of male relationships, intimacy extends far beyond romantic entanglements.

Male friendships, characterised by loyalty and shared experiences, play a pivotal role in shaping men’s emotional landscapes.

These bonds serve as a cornerstone of support, offering a sanctuary for vulnerability and genuine connection amidst the complexities of life. From childhood companions to lifelong confidants, friendships provide men with a sense of belonging and solidarity, transcending conventional notions of intimacy.

Untangling emotional complexity

Behind the facade of nonchalance, men hold a complex tapestry of emotions, often concealed from the prying eyes of society.

The pressure to conform to masculine ideals holds them back from healthy emotional expression, leading to a lot of internal conflicts and insecurities.

Therefore, unhealthy relationship patterns emerge.

However, with the increase of awareness in our society, men are increasingly embracing vulnerability as a strength rather than a weakness.

They are fostering deeper connections with themselves, resulting in better connections with their partners.

By embracing authenticity and emotional awareness, men cultivate healthier relationships founded on trust, empathy and genuine communication.

The environment in which a man is brought up in plays a significant role in shaping his relationship patterns.

Each society injects its own set of norms, values and expectations. Our society, in specific, encourages familial bonds to individualistic quests looking for personal autonomy.

When it comes to relationship patterns, men also fall under the programming they absorbed, as children, in their household.

Subconsciously repeating those patterns without even noticing why they attract a certain person into their lives.

Men may find themselves drawn to individuals who evoke familiar traits reminiscent of their mother, thus shaping their perception of an ideal partner.

This inclination towards familiarity stems from the mind’s natural tendency to be attracted towards what is known and comfortable while resisting the unfamiliar.

However, this tendency can lead to unhealthy relationship patterns if not rooted in essential foundations such as genuine connection, compatibility and understanding. Consequently, relationships built solely on familiarity may lack the necessary depth and authenticity required for long-term fulfilment.

Cultural context significantly shapes men’s relationship patterns, as each society transmits its unique norms, values and expectations.

Men traverse varied cultural landscapes that deeply influence their relational decisions. Additionally, environmental factors and childhood upbringing have considerable influence, leading individuals to subconsciously gravitate towards partners who resonate with familiar traits.

This unconscious pattern often results in unhealthy relationship dynamics.

Breaking free from these patterns begins with awareness of this subconscious programming, paving the way for self-acceptance and understanding.

By acknowledging and addressing these influences, individuals can forge connections founded on authenticity and genuine compatibility.

Reprinted with permission from Family Flavours magazine.

MUMBAI — Canadian pop star Justin Bieber entertained some of India’s biggest celebrities in the latest instalment of months-long wedding celebrations thrown for the son of Asia’s richest man Mukesh Ambani.

Bieber, who shot to prominence as a teenage heartthrob, is among several global celebrities who have jetted into India for the marriage festivities of Ambani’s younger son Anant and fiancee Radhika Merchant.

He and Merchant, both 29, were childhood friends and are set to marry in a three-day Hindu ceremony beginning on July 12.

Bieber, who flew in from Los Angeles, was pictured at the Mumbai airport Friday morning wearing an oversized pink T-shirt and a bucket hat.

Footage of his concert in the financial hub that night shared on social media showed him performing his 2015 hit “Sorry” in front of hundreds of VIP revellers.

Bollywood star Salman Khan and former India cricket captain M.S. Dhoni were among the celebrity guests in attendance on Friday.

Indian media reports said Bieber was rumoured to have been paid up to $10 million for the performance.

Anant Ambani and Merchant have already staged two elaborate and star-studded parties ahead of this month’s main event, including a three-day gala in February in Gujarat state.

There, Rihanna performed her first concert since last year’s Super Bowl for guests including Facebook founder Mark Zuckerberg, and former US president Donald Trump’s daughter Ivanka.

In June, the couple embarked on a four-day Mediterranean cruise, where singer Katy Perry performed at a masquerade ball at a French chateau in Cannes.

The Backstreet Boys, US rapper Pitbull and Italian tenor Andrea Bocelli also provided entertainment.

Anant’s billionaire tycoon father is no stranger to throwing a costly wedding.

He held the most expensive wedding in India to date for his daughter in 2018, which reportedly cost $100 million and saw US singer Beyonce perform.

Ambani, 67, the chairman of Reliance Industries, has a fortune of more than $113 billion, the 11th wealthiest person in the world, according to the Forbes billionaires list.

He is also a key ally of India’s right-wing Hindu nationalist leader, Prime Minister Narendra Modi.

Ambani inherited a thriving industrial enterprise spanning oil, gas and petrochemicals.

He grew it into a commercial behemoth with lucrative interests in retail, telecommunications and an Indian Premier League cricket team.

Merchant is the daughter of prominent pharmaceutical moguls.

KUALA LUMPUR — Malaysian authorities have rescued hundreds of smuggled tortoises meant for sale in Southeast Asia, disrupting an international crime ring called the “Ninja Turtle Gang”, a wildlife official said on Thursday.

Abdul Kadir Abu Hashim, wildlife and national parks department director-general, said 400 tortoises worth 3.8 million ringgit ($805,084) bound for the lucrative exotic pet trade were seized during an operation by the police and wildlife officials on Saturday.

Across Asia, many believe that tortoises bring good luck and prosperity.

“This is the biggest ever seizure in the past 10 years,” Abdul Kadir told AFP, adding that the reptiles were to be sold on to Thailand and Indonesia after local demand was met.

He said the tortoises were believed to have been smuggled from India, Pakistan, Bangladesh and Nepal.

The joint operation, codenamed “United National Resource”, crippled the tortoise smuggling ring known as the “Ninja Turtle Gang”, he said.

The operation involved a car chase in which the driver of a vehicle thought to be used in the smuggling was arrested.

The driver subsequently led the enforcement officers to a location where rare three-keeled land turtles and Indian star tortoises were being kept.

Commercial trade in the Indian star tortoise was banned in 2019.

“The strategic location of Malaysia in Southeast Asia makes the country a hub for the smuggling of these exotic species,” Abdul Kadir said.

The tortoises are illegally brought into Malaysia by road or in suitcases by smugglers aboard commercial flights, he said.

Traffic, a wildlife NGO, has previously said that Southeast Asian countries “function as source, consumer and as entrepots for wildlife originating from within the region as well as the rest of the world”.

PARIS — Three planes, 270 tonnes of equipment, 800 square metres of stage: The figures from Madonna’s massive free concert in Rio in May sounded like they came from another age.

These days, megastars are usually keener to claim a smaller footprint.

Coldplay, who just headlined Glastonbury Festival in Britain, recently announced they had cut carbon emissions on their world tour by 59 per cent compared with their last tour in 2016-17.

They have taken innovative steps including solar panels and even a special dance floor that generates electricity from the movement of the audience.

Critics point out they are still flying around on planes, and there was particularly opprobrium in 2022 when they announced a partnership with Finnish oil giant Neste.

Though Neste promised to help them use sustainable biofuels, the Transport and Environment campaign group said Coldplay were being used by the oil firm as “useful idiots for greenwashing”.

Though the overall impact is hard to measure, one study by University of Oxford’s Environmental Change Institute in 2010 estimated that Britain’s industry alone generated 540,000 tonnes of carbon emissions annually.

Climate group Clean Scene found that the top 1,000 DJs took 51,000 flights in 2019, equivalent to 35,000 tonnes of CO2 emissions.

Climate commitments

As a result, all the big festivals now have climate pledges and initiatives, from composting and car-pooling schemes at Coachella in California to renewable energy usage at Glastonbury.

One festival that has taken a lead is We Love Green in Paris, as the name suggests.

Some 110,000 festival-goers attended last month’s event to see artists including Sza, who travelled with “almost no equipment” according to Marianne Hocquard, the festival’s head of sustainable development.

She said that was down to the festival ensuring they have much of the equipment needed by its artists, and setting energy caps for performances.

Others have taken radical steps: The Bon Air festival in Marseille cancelled DJ I Hate Models this year after learning that he was coming by private jet.

Many events now encourage their attendees to take greener modes of transport.

We Love Green launched a partnership with the French Cycling Federation to organise convoys of bikes for this year’s edition, and said 14 per cent of ticket-holders came on two wheels despite the dodgy weather, up from 8 per cent last year.

But there is a limit to how much can be done.

When Taylor Swift played Paris in May, the city mayor’s office said there was a surge in arrivals of private jets at local airports.

Private jet operators have been jumping on entertainment events such as festivals or the Euro 2024 football tournament to boost their business.

TEHRAN — Iranian artist Mohammad Hossein Aghamiri sometimes labours for six months on a single design, very carefully — he knows a single crooked line could ruin his entire artwork.

In the age of AI-assisted graphic design on computer screens, the centuries-old tradition of Persian illumination offers an antidote to rushing the creative process.

Aghamiri’s fine brush moves natural pigments onto the paper with deliberate precision as he creates intricate floral patterns, religious motifs and elegantly flowing calligraphy.

The exquisite artwork has for centuries embellished literary manuscripts, religious texts and royal edicts as well as many business contracts and marriage certificates.

Aghamiri, 51, is one of Iran’s dozen or so remaining masters of the ancient illumination art of Tazhib, which was inscribed last year on UNESCO’s list of intangible heritage.

“It is a very unique job that requires a lot of patience and precision,” Aghamiri, a veteran of the craft with over 30 years’ experience, told AFP in his downtown Tehran studio.

“It’s not accessible to everyone.”

Tazhib’s non-figurative and geometric flourishes have traditionally adorned the margins of holy books and epic poems.

The artform dates back to the Sassanid era in pre-Islamic Iran but flourished after the seventh century advent of Islam, which banned human depictions.

Aghamiri says it often takes him months to finish one design and that a single misplaced stroke that disrupts its symmetrical harmony can force him to start over.

Global workshops online 

When AFP visited, he was working on a so-called shamsa design, a symbolic representation of the sun, about 50 centimetres across with intertwined abstract, geometric and floral patterns.

He said he started the piece over four months ago and aimed to finish it within six weeks, using natural pigments such as lapis lazuli, saffron, gouache and pure gold, from China.

“Gold has a very strong visual appeal,” said Aghamiri. “It’s expensive and it enhances the perceived value of the work.”

Aghamiri hails from a family of artists and artisans with a rich history in Iranian craft traditions including calligraphy, miniature painting and carpet design.

His work has been showcased in museums in Iran and in nearby Arab countries of the Gulf region where interest in Oriental and Islamic art continues to grow.

“Eighty per cent of my works are sold in the region, especially in the Emirates and Qatar” as well as in Turkey, he said.

In recent years, Aghamiri garnered interest abroad and even began teaching the ancient art online to students from across the world, notably the United States.

Soon, he also hopes to hold workshops in Britain for his craft, which he says is fundamentally different from European illumination art, which flourished in the Middle Ages.

European designs, he said, are more figurative and can depict human faces, animals and landscapes, and often illustrate biblical scenes.

UNESCO labelled the Persian art of illumination as part of the Intangible Cultural Heritage of Humanity in December 2023, at the request of Iran as well as Turkey, Azerbaijan and Uzbekistan.

“Twenty years ago, I didn’t have much hope” for the future of Persian illumination, said Aghamiri. “But things have changed, and I see that this art is becoming more and more popular.”

LOS ANGELES — “Inside Out 2” kept its number one spot at North American box offices for the third weekend in a row, industry watcher Exhibitor Relations reported Sunday, stalked closely by the latest installment in the “Quiet Place” horror franchise.

The film pulled in $57.4 million over the weekend, for a total haul of $469 million since its June 14 theatrical release — continuing its sweep despite struggles in the overall market, noted analyst David A. Gross of Franchise Entertainment Research.

“In spite of record-breaking numbers from ‘Inside Out 2’ and an excellent performance by ‘Planet of the Apes’, the June domestic [box office] was down -20.8 per cent compared with the pre-pandemic average,” Gross said.

The coming-of-age film again takes place largely inside the mind of a girl named Riley, as she grapples with new feelings on starting high school.

Emotions such as Envy and Anxiety join the existing, talkative residents of her young head, including Joy and Sadness, all of them voiced by actors including Amy Poehler and Phyllis Smith.

Close behind was Paramount’s “A Quiet Place: Day One”, the third installment in the apocalyptic horror series, starring Kenyan-Mexican actress Lupita Nyong’o, which garnered $53 million in its debut weekend.

Gross called it “an outstanding opening for the 3rd episode in a horror series”, though he noted critic and audience reviews were down from the previous chapter.

“Only 13 horror series have moved on to a fourth episode. That list is going to get longer now.”

Also debuting was “Horizon: An American Saga”, from Warner Bros., which took third in box offices with a much smaller $11 million.

The American Western epic is the first installment in the new series, directed by and starring Kevin Costner, with a sequel expected in August.

Meanwhile the rowdy Will Smith action comedy “Bad Boys: Ride or Die”, dropped from second to fourth place, with the feature pulling in $10.3 million.

Sony’s fourth installment of the series is a major step in Smith’s career rehabilitation after he slapped Chris Rock at the Academy Awards in 2022 — a sign that audiences are ready to welcome him back.

Fifth place went to “Kalki 2898 AD,” a Telugu-language science fiction film from India’s Prathyangira Cinemas, which earned $5.5 million.

The mythological tale, with a blockbuster Indian cast, is the first film in a larger cinematic universe planned by the creators.

DORTMUND, Germany — While Germany sometimes struggled on the pitch at Euro 2024, a previously unknown saxophonist in a retro shirt has had more success at delighting fans and uniting the country.

Andre Schnura has become the breakout star of the competition on social media, getting fans jumping across Germany’s host cities for the tournament.

His latest performance in front of his newly adoring public came in the Dortmund fanzone ahead of Germany’s first knockout game against Denmark on Saturday evening.

Little over two weeks ago, 30-something Schnura was a gigging saxophonist and music teacher of little or no renown.

After losing his main job at a music school where he had been giving lessons for the past six years, he decided to pick up his saxophone and follow the football around Germany.

Schnura’s interpretations of the greatest hits of the football songbook include “Freed from Desire”, “Samba de Janeiro” and “Major Tom”, a German 80s classic which has become an anthem for supporters.

Dressed in a retro Rudi Voeller kit and sunglasses, Schnura has racked up hundreds of thousands of views on social media and become an instantly recognisable character at the tournament.

“I am completely overwhelmed and infinitely grateful for what is happening right now,” Schnura wrote on Instagram after a week of high-energy performances.

Hopeful message

The “saxophone guy”, as Schnura even calls himself, has used his platform to carry a message, too.

“I want to use my five minutes of fame to remind you of something important. All eyes are still on me, but it won’t always stay that way,” Schnura said.

“We all have worries, fears and insecurities... But we all long for peace, security and love. Simply, we are all the same. I want to remind you to love and forgive one another,” he said.

The saxophonist’s message of hope has resonated with fans, many of whom have followed his performances live online.

“I think I speak for everyone when I say your vibe is doing great things for Germany and for the Euros,” one user responded.

Another said Schnura was “saving Germany with a saxophone”.

Germany may have qualified for its first quarter final in eight years, bringing some positivity back to the team, but the mood in the country is dour between a sluggish economy and an ill-tempered political debate.

The saxophone guy has not gone unnoticed by the German football association or the tournament organisers UEFA, who have both broadcast videos of Schnura.

The musician has caught the attention of the players in the changing room, too. Gap-toothed striker and German cult icon in his own right, Niclas Fuellkrug said Schnura was “very cool”.

“Super job, Andre! Thank you for your support!” said veteran teammate Thomas Mueller.

Schnura has turned down requests for interviews, saying his “music speaks for itself”.

A petition has been started online for Schnura to appear at the final in Berlin on July 14. The musician himself has announced a tour in the autumn with seven dates called “love is the answer”.