Incumbent Macky Sall wins Senegal presidential elections: PM

Dakar, Senegal – President Macky Sall has won Sunday’s presidential election in Senegal, the country’s prime minister said.

Mahammed Dionne, citing a provincial tally, said Sall garnered at least 57 percent of the votes cast in Sunday’s poll.

“We must congratulate President Macky Sall for his first round election victory,” Dionne said early on Monday at a news conference in Dakar, the capital.

“Our gathered results show that our candidate has largely won the election in the thirteen out of fourteen regions in the country. We can expect a minimum of 57 percent. From tomorrow, our candidate restarts his work putting this country on the path toward to development,” Dionne added.

More than 6.5 million people registered to take part in the vote.

The electoral commission has not made any announcement. Official results are expected no later than Friday.

President Sall is seeking a second and final term in office.

A candidate must win more than 50 percent of the votes to avoid a runoff.

Polls close and counting begins in Senegal presidential vote

If no candidate has won the required votes, the two candidates with the most votes go to a second round to be held on March 24.

Meanwhile, opposition candidates said there was no winner in Sunday’s poll.

“There is no question, a second round is unavoidable even if some media try to announce a victory in the first round,” Idrissa Seck, one of the main candidates in the poll said.

“I ask them to respect the Senegalese people’s choice, a choice for change,” Seck added.

A youth movement that propelled Sall into office in 2012 has condemned the announcement by the prime minister.

“It seems as if the government doesn’t want peace in the country. They are ready to confiscate power. Senegalese will not accept this; to give results while the commission is counting votes,” Fadel Barro, coordinator of Y’en Marre (Fed Up in the local Wolof language) movement, said.

“I ask people to stand up. We will not accept anyone to destroy the stability of our country,” he added.

Senegal votes with incumbent president Sall confident of win

Three other candidates also competed in the election, the first since a 2016 referendum cut short the presidential mandate from seven to five years.

A president can now only serve two five year terms in office.

On Monday morning, life was back to normal on the streets of the capital, Dakar with people going on about their daily lives.

The city is home to more 20 percent of the country’s registered voters.

Senegal has one of the fastest growing economies on the continent and is considered to be one of the most stable democracies on the continent.

Since independence from France in 1960, the West African country has had three peaceful transfers of power.

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What It’s Like to Be a Woman in Foreign Policy in the Age of the Alpha Males

It’s not easy being one of the few women to play a senior role in the making of American foreign policy. Twenty-five months into his presidency, Donald Trump’s national security team is a distinctly all-male affair, with top jobs being filled not just with men, but with what one Trump aide once described as “alpha males”—giving America’s posture toward the world a distinctly testosterone-charged feel.

Trump’s national security adviser is a man. So is his secretary of state, who boasts of “swagger” on the world stage. So is his acting defense secretary. Their deputies? Mostly men. Indeed, name any top foreign-policy job in this administration—with the notable exception of UN ambassador, for which Trump recently nominated Canada ambassador Kelly Knight Craft—and it’s likely filled by a man.

Story Continued Below

In fact, both parties now suffer from a severe deficit of women voices on foreign policy, with dangerous repercussions for America’s national security, experts warn, not to mention the world’s peace and stability.

One of the only senior women to have any voice on America’s role abroad is Sen. Jeanne Shaheen, a New Hampshire Democrat and the lone female member on the Senate Foreign Relations Committee.

Shaheen’s plight is perhaps best illustrated by an episode last summer, when she clashed with Secretary of State Mike Pompeo.

Pompeo, who had recently moved over from the CIA to replace the hapless Rex Tillerson in Foggy Bottom, was testifying before the Committee on Foreign Relations—and his rude treatment of Shaheen turned heads in the hearing room and well beyond it.

The New Hampshire senator, who also holds a spot on the Armed Services Committee, asked Pompeo if Trump and Russian President Vladimir Putin had discussed downgrading the U.S. presence in Syria in their recent closed-door summit in Finland.

She tried asking the question slightly different ways. There was no change in U.S. policy, Pompeo said gruffly. When Shaheen explained that wasn’t exactly what she was asking, the secretary cut her off sharply: “Senator, it’s what matters.” Later, she pressed on the topic of a Russian Ministry of Defense statement that seemed at odds with the U.S. military’s line on what was covered in the meeting. Pompeo snapped again. “I will humbly suggest to you that you ought to have more confidence in General Votel than the Russian Ministry of Defense,” he said, referring to the commander of U.S. Central Command who had been at the center of the conflicting narratives about the Putin summit.

At the end of the hearing, Sen. Bob Menendez (D-N.J.) exploded at Pompeo, accusing him of “demeaning” Shaheen.

But her exchange with Pompeo, Shaheen suggested in a recent interview, is all too common.

“There have been some people who have appeared before the Foreign Relations Committee—more the Foreign Relations Committee than the Armed Services Committee, interestingly enough—who have been a little condescending,” the senator told me. She declined to name names but assured me she remembered who they were.

Shaheen was, as ever, being diplomatic. In interviews with six Hill staffers and a handful of senators on the committee, several said that Shaheen, in working on the Hill, has had to confront the many faces of workplace sexism: condescension, interruption and a lack of recognition of her work and ideas. And it’s not just Pompeo: One Democratic aide on the committee noted that Tillerson, a former ExxonMobil CEO accustomed to unusual deference in the world’s power corridors, was notorious for interrupting and speaking down to the committee’s only woman. At a hearing in 2017, for example, when Shaheen asked Tillerson about the consequences of changes to the State Department budget on women’s global health, he avoided the question, and instead explained how executive orders work.

As women’s voices on foreign policy become sparer in Trump’s Washington, they are also becoming more important, and Shaheen tries to fill a growing void. Under Trump, U.S. foreign policy has tilted away from military engagement, as questions of civil society, economic development, health, women and families become more urgent—the kinds of issues that are more likely to be championed by women leaders.

“Inevitably women in national security have a few moments where they feel they’ve damaged their career by overemphasizing gender,” Loren DeJonge Schulman, a former top aide to national security adviser Susan Rice, wrote in an email. “When in reality it’s everyone else who underemphasizes it.”

One case in point: Afghanistan. Trump ordered the withdrawal of roughly half of U.S. troops stationed there in late December, despite an unclear political future and regular violence in the country. Research from the Council on Foreign Relations has shown that women’s participation in peace processes increases the resulting agreement’s likelihood to last at least 15 years by 35 percent. But for Trump’s team, ensuring that those voices are at the table—not just for their own sake, but to achieve more lasting peace and security resolutions—has not been a priority. Advocates worry about the lack of Afghan government voices and Afghan women in the ongoing peace talks between the United States and the Taliban. “Can you see male members of the committee, or any national security community,” said Schulman, who is currently a deputy director at Center for a New American Security, “demanding that Afghan women get an equal voice in their peace process?”

“When women are at key international tables, from peace talks to infrastructure loans, the outcomes are more durable,” said Heather Hurlburt, a former State Department official now with New America.

Shaheen, unprompted, raised that same point. “We’re learning more and more about societies and how they operate … just how important women’s empowerment is,” she said.

The gender imbalance in Washington foreign policy is worsening under Trump. As of March 2018, 34 percent of political appointees at the State Department were women; under Obama in 2012, that number was 44 percent. At the Department of Defense, that number was worse—27 percent in 2018, down from 34 percent in 2012. The gender dynamic is reflected in the administration’s tone, too. Trump routinely praises generals for their toughness and even their physical brawn, recently calling them “better looking than Tom Cruise—and stronger, too.”

Amid this backdrop, Shaheen has focused on legislation that directly affects women and families around the world. In 2017, she introduced the Keeping Girls in Schools Act, which sought to use State Department and USAID funding to implement programs ensuring girls would enroll and stay in school, and to use U.S. assistance to address the barriers that keep girls out of school. That same year, she introduced the International Violence Against Women Act, and saw her Women’s Peace and Security Act, intended to promote women’s participation in peace-building, signed into law. Hours after I spoke to her, I got a press release from her office—she and Rep. Nita Lowey, the chair of the House Appropriations Committee, were reintroducing the Global Health, Empowerment and Rights Act, which would permanently repeal the Global Gag Rule, an executive order banning federal funds for foreign NGOs that also use non-U.S. funds to provide abortion or information about abortion.

One of Shaheen’s male colleagues expressed a worry that she was too often all alone on such issues. “It should not be her burden to bear—to be the member of the committee who most often raises issues surrounding global women’s health,” Sen. Chris Murphy, a Democrat from Connecticut on the committee, told me. “The rest of us should probably step up to the plate and take that responsibility off of her.”

But these additional burdens haven’t kept Shaheen from doing her job, according to colleagues. “I think Jeanne’s bona fides on national security are stronger than the majority of members on that committee,” Murphy said. “She’s won more tough fights on foreign policy matters than almost anyone else on that committee,” noting her successful efforts to put conditions on U.S. support for the bloody Saudi-led war in Yemen.

Shaheen also has a history of working with Republicans rather than against them. Along with Sen. Lindsey Graham (R-S.C.), she led the Senate’s efforts to get American pastor Andrew Brunson released from prison and then house arrest in Turkey. She and Sen. Thom Tillis (R-N.C.) joined together to establish the Senate NATO Observer Group, which European diplomats now point to as evidence of America’s commitment to NATO. And when the Russian Embassy in Washington, D.C., put her on a “blacklist” and denied her a visa, Sen. Ron Johnson (R-N.C.) canceled the trip in solidarity. (“Politics should end at the water’s edge, and that has been my experience working with Senator Shaheen,” Johnson observed.)

But because Shaheen doesn’t seek the limelight, you don’t hear much about her achievements.

Perhaps it’s also because her male colleagues are hogging the microphone. The Senate Foreign Relations Committee now also includes Graham and Sen. Ted Cruz, two former presidential candidates who are fixtures on cable news. Though Shaheen did the legislative and political heavy lifting on the Yemen bill, for instance, it was Graham who made headlines with his pithy “smoking bonesaw” quip about the Saudi government’s alleged murder of writer Jamal Khashoggi.

When I asked Shaheen about being overshadowed by the committee’s big male personalities, she was characteristically humble.

“I think women are often better about worrying less about who takes credit for things and more about how do we get something done,” she said. “We can either get bogged down by all of those things or we can just keep going.”

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Sony Xperia 1, Xperia 10, Xperia 10 Plus: Ultra-skinny screens

The new Sony Xperia 1, 10, and 10 Plus (pictured) have the tallest screens (21:9) we've ever seen on smartphones.
The new Sony Xperia 1, 10, and 10 Plus (pictured) have the tallest screens (21:9) we’ve ever seen on smartphones.

Image: raymond wong/mashable

2017%252f10%252f24%252f21%252fraymondwong3profile.34d72.jpg%252f90x90By Raymond Wong

It’s impossible to ignore certain trends like foldable phones, hole-punch displays, and 5G at Mobile World Congress this year. 

Every company seems to be chasing the same things, except Sony. Instead of copying the same trends, the beleaguered tech giant going widescreen — really widescreen with its new flagship Xperia 1, Xperia 10, and Xperia 10 Plus Android phones.

SEE ALSO: Huawei’s Mate X is the most promising foldable phone yet

Like LG and HTC, Sony was once considered a formidable phone maker. The last few years have seen the Japanese tech giant release some well-spec’d phones, but nothing that screamed wow. Many of its phones like the Xperia XZ2 and XZ2 were more like catchup than class-leading.

However, the new Xperia 1, 10, and Xperia 10 Plus all feel refreshing right off the bat thanks their extra wide displays.

Whereas most phone screens are either your standard 16:9, or 2:1, or 19.5:9 (now increasingly common on phones with notches), the displays on the new Xperia’s are all 21:9.

21:9 displays are good for watching cinematic movies, but will they be good for everything else?

21:9 displays are good for watching cinematic movies, but will they be good for everything else?

Image: RAYMOND WONG/MASHABLE

Why so long? Because more movies like Spider-Man: Into the Spider-Verse are shot in 21:9 and you’ll be able to watch them on the phones without letterboxing. Because you can see more content when holding the phone vertically and run two apps at once. Because Sony wants more content creators to shoot photos and videos in 21:9 so that the format becomes more mainstream.

New screens aside, Sony’s trio of new phones are pretty solid on the insidex. The Xperia 1 replaces the former flagship Xperia XZ3 and comes with respective specs like a 6.5-inch 4K HDR OLED display, Qualcomm Snapdragon 855 chip, 6GB of RAM, 128GB of internal storage (expandable via microSD card), and a 3,330 mAh battery. 

The Xperia 1 has three cameras like many 2019 flagship phones.

The Xperia 1 has three cameras like many 2019 flagship phones.

Image: RAYMOND WONG/MASHABLE

And like Samsung’s Galaxy S10 and S10+, it also has three rear cameras: a 12-megapixel ultra wide-angle lens, 12-megapixel wide-angle lens, and a 12-megapixel telephoto lens.

Sony's new phones all run Android 9 Pie.

Sony’s new phones all run Android 9 Pie.

Image: RAYMOND WONG/MASHABLE

Though not as powerful, the Xperia 10 and Xperia 10 Plus are capable mid-range Android phones as well. Both come with 21:9 LCD displays, but their full HD resolutions aren’t quite as sharp on the Xperia 10’s 6-inch screen or the Xperia 10 Plus’s 6.5-inch screen.

Both also come with a Snapdragon 636 chip and 64GB of storage (expandable via microSD card). The only difference is RAM: the Xperia 10 has 3GB of RAM and the Xperia 10 Plus has 4GB of RAM.

The Xperia 10 and 10 Plus aren't as luxurious as the Xperia 1.

The Xperia 10 and 10 Plus aren’t as luxurious as the Xperia 1.

Image: RAYMOND WONG/MASHABLE

Camera-wise, both mid-range Sony phones have two on the back: a 13-megapixel camera paired with a 5-megapixel camera on the Xperia 10 and a 12-megapixel camera paired with an 8-megapixel camera on the Xperia 10 Plus.

The forehead bezel is huge.

The forehead bezel is huge.

Image: RAYMOND WONG/MASHABLE

At least there's no chin bezel tho.

At least there’s no chin bezel tho.

Image: RAYMOND WONG/MASHABLE

I can’t say whether consumers will embrace Sony’s super wide 21:9 phone displays, but they are noticeably different — they look different and feel different in the hand (and pocket). The large “forehead” bezel might turn people off, but at least the phones aren’t more copycats of Chinese phones.

In a sea of phones that all look virtually identical, standing out with a screen that doesn’t have another notch or hole-punch might be enough to persuade consumers to at least glance in Sony’s direction.

It also helps that Sony’s working with content partners like Netflix and Amazon to get more video content optimized for the ultra-wide phone screens. Moreover, some game developers like Gameloft (Asphalt 9), Epic Games (Fornite), and Tencent Games (Arena of Valor) are already signed up to optimize their most popular games for the new screens.

The Xperia 1 will launch in late spring and the Xperia 10 and Xperia 10 Plus on March 18. Pricing has yet to be announced.

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Martin Scorsese’s ‘The Irishman’ teaser is incredibly intense yet shows painfully little

Forget stunning visuals: all you really need to make a very intense trailer is ominous music, shell casing sound effects and some dialogue about house painting.

That may not sound all too intriguing on paper, but the teaser for Martin Scorsese’s The Irishman — which is based on Charles Brandt’s novel I Heard You Paint Houses — makes it work.

The cast list — which includes gangster favourites Robert De Niro, Al Pacino, Joe Pesci and Harvey Keitel — almost certainly helps too.

The Irishman is coming to Netflix this autumn.

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Oscars 2019: The complete list of winners

Best picture

Black Panther

BlacKkKlansman

Bohemian Rhapsody

The Favourite

Green Book – WINNER

Roma

A Star Is Born

Vice

Best Director

BlacKkKlansman, Spike Lee

Cold War, Paweł Pawlikowski

The Favourite, Yorgos Lanthimos

Roma, Alfonso Cuaron – WINNER

Vice, Adam McKay

Best actress in a leading role

Yalitza Aparicio, Roma

Glenn Close, The Wife

Olivia Colman, The Favourite – WINNER

Lady Gaga, A Star Is Born

Melissa McCarthy, Can You Ever Forgive Me?

Best actor in a leading role

Christian Bale, Vice

Bradley Cooper, A Star Is Born

Willem Dafoe, At Eternity’s Gate

Rami Malek, Bohemian Rhapsody – WINNER

Viggo Mortensen, Green Book

Rami Malek becomes the first Arab-American to win an Oscar for Best Actor [Kevork Djansezian/AFP]

Best actress in a supporting role

Amy Adams, Vice

Marina de Tavira, Roma

Regina King, If Beale Street Could Talk – WINNER

Emma Stone, The Favourite

Rachel Weisz, The Favourite

Best actor in a supporting role

Mahershala Ali, Green Book – WINNER

Adam Driver, BlacKkKlansman

Sam Elliott, A Star Is Born

Richard E. Grant, Can You Ever Forgive Me?

Sam Rockwell, Vice

Best original screenplay

The Favourite, Deborah Davis and Tony McNamara

First Reformed, Paul Schrader

Green Book, Nick Vallelonga, Brian Currie, and Peter Farrelly – WINNER

Roma, Alfonso Cuaron

Vice, Adam McKay

Best adapted screenplay

The Ballad of Buster Scruggs, Joel Coen and Ethan Coen

BlacKkKlansman, Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee – WINNER

Can You Ever Forgive Me?, Nicole Holofcener and Jeff Whitty

If Beale Street Could Talk, Barry Jenkins

A Star Is Born, Eric Roth, Bradley Cooper, and Will Fetters

Best cinematography

Cold War, Lukasz Zal

The Favourite, Robbie Ryan

Never Look Away, Caleb Deschanel

Roma, Alfonso Cuaron – WINNER

A Star Is Born, Matthew Libatique

Alfonso Cuaron of Mexico won three awards for ‘Roma’ [Mike Segar/Reuters]

Best makeup and hairstyling

Border

Mary Queen of Scots

Vice – WINNER

Best documentary feature

Free Solo – WINNER

Hale County This Morning, This Evening

Minding the Gap

Of Fathers and Sons

RBG

Best costume design

The Ballad of Buster Scruggs

Black Panther – WINNER

The Favourite

Mary Poppins Returns

Mary Queen of Scots

Best film editing

BlacKkKlansman

Bohemian Rhapsody – WINNER

The Favourite

Green Book

Vice

Best production design

Black Panther – WINNER

The Favourite

First Man

Mary Poppins Returns

Roma

Hannah Beachler and Jay Hart celebrate backstage with their Best Production Design awards for ‘Black Panther’ [Mike Segar/Reuters]

Best sound editing

Black Panther

Bohemian Rhapsody – WINNER

First Man

A Quiet Place

Roma

Best sound mixing

Black Panther

Bohemian Rhapsody – WINNER

First Man

Roma

A Star Is Born

Best foreign language film

Capernaum, Lebanon

Cold War, Poland

Never Look Away, Germany

Roma, Mexico – WINNER

Shoplifters, Japan

Best animated feature

Incredibles 2

Isle of Dogs

Mirai

Ralph Breaks the Internet

Spider-Man: Into the Spider-Verse – WINNER

Best live action short

Detainment

Fauve

Marguerite

Mother

Skin – WINNER

Best animated short film

Animal Behavior

Bao – WINNER

Late Afternoon

One Small Step

Weekends

Best documentary short

Black Sheep

End Game

Lifeboat

A Night at the Garden

Period. End of Sentence. – WINNER

Best visual effects

Avengers: Infinity War

Christopher Robin

First Man – WINNER

Ready Player One

Solo: A Star Wars Story

Best original score

Black Panther – WINNER

BlacKkKlansman

If Beale Street Could Talk

Isle of Dogs

Mary Poppins Returns

Best original song

“All the Stars,” Black Panther

“I’ll Fight,” RBG

“The Place Where Lost Things Go,” Mary Poppins Returns

“Shallow,” A Star Is Born – WINNER

“When a Cowboy Trades His Spurs for Wings,” The Ballad of Buster Scruggs

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Spike Lee was not cool with ‘Green Book’ winning Best Picture at the Oscars

Spike Lee was not happy about the racially tone-deaf 'Green Book' winning Best Picture.
Spike Lee was not happy about the racially tone-deaf ‘Green Book’ winning Best Picture.

Image: Kevork Djansezian/Getty Images

2016%252f09%252f16%252fe7%252fhttpsd2mhye01h4nj2n.cloudfront.netmediazgkymde1lzex.0f9e7.jpg%252f90x90By Johnny Lieu

Spike Lee is also angry about Green Book winning Best Picture.

The BlacKkKlansman director was reported to have stood up and waved his hands in disgust during Sunday’s Oscars ceremony, when Julia Roberts announced Green Book as the winner of the night’s top prize.

SEE ALSO: The most savage things critics have said about 2019 Best Picture winner ‘Green Book’

As per the Associated Press

Lee, whose “Do the Right Thing” came out the same year that “Driving Miss Daisy” won best picture, was among those most visibly upset by the award handed to “Green Book.” After presenter Julia Roberts announced it, Lee stood up, waved his hands in disgust and started pacing up and down the aisles.

Lee reportedly tried to leave, but was stopped, and eventually returned to his seat. 

Spike Lee was visibly angry when “Green Book” was announced as the winner of best picture at the Oscars, waving his arms in disgust and appearing to try to storm out of the Dolby Theatre before he was stopped at the doors. He returned to his seat when the speeches were over.

— Andrew Dalton (@andyjamesdalton) February 25, 2019

The winner of the highest prize at the Oscars has been extensively criticized for its overly simplistic treatment of racial issues, described by critics as “deeply weird and evasive,” and the “worst best picture Oscar winner since Crash.

In a press conference following the awards, Lee was coy about how he really felt about the decision to crown Green Book, opting to make light of the situation.

“This is my sixth glass — and you know why,” he joked. 

Lee was then asked whether his Best Adapted Screenplay win this year made up for the fact that his iconic film Do The Right Thing didn’t win an Oscar back in 1990. 

He joked about the swag of awards that Driving Miss Daisy — a film set in the ’40s about a black chauffeur, played by Morgan Freeman, and his relationship with a wealthy, white Southern lady he drives around — won that same year.

“I’m snakebit. Every time someone is driving somebody, I lose,” he said. “But they changed the seating arrangement.”

When finally asked how he felt about Green Book winning Best Picture, Lee loudly replied, “Next question!” The director was then asked about his reaction when the award was announced.

“I thought I was courtside at the [Madison Square] Garden. The ref made a bad call,” he said.

Later, Lee said irrespective whether BlacKkKlansman won Best Picture or not, the film would “stand the test of time, and be on the right side of history.”

The controversy surrounding Green Book is something producer Jim Burke acknowledged was “discouraging.” He told a post-awards press conference, however, that he still stands by the film.

“We always went back to the film. And when we had a bad day, we pop in the movie, and were reminded that we are all proud of this film,” Burke said.

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‘Green Book’ wins Best Picture at the 2019 Oscars

'Green Book' takes it.
‘Green Book’ takes it.

Image: Kevin Winter / Getty Images

2017%252f05%252f02%252fd1%252fangiehanheadshothighres3.50ab4.jpg%252f90x90By Angie Han

And the night’s big winner is … Green Book

SEE ALSO: Oscars 2019: The full winners list

The Peter Farrelly-directed drama took home Best Picture at the 91st Academy Awards, after taking Best Supporting Actor (for Mahershala Ali) and Best Original Screenplay (for Nick Vallelonga, Brian Hayes Currie, and Farrelly) earlier in the night.

Green Book had also been nominated for Best Actor (for Viggo Mortensen) and Best Film Editing, but lost out to Bohemian Rhapsody in both categories.

The film follows a white chauffeur (Mortensen) hired to drive a black pianist, Don Shirley (Ali), on his tour through the Midwest and Deep South. It is based on the real experiences of Vallelonga’s father, Tony “Lip” Vallelonga, who was the driver. 

Though it’s earned some strong positive buzz throughout its release and awards campaign, Green Book has also been criticized for its over-simplistic portrayal of race relations. The Shirley family, which was not consulted for the movie, has also criticized the film as inaccurate. 

Still, those controversies haven’t impeded Green Book’s journey through awards season. In addition to the three Oscars it won tonight, the movie has also won three Golden Globes, a BAFTA, and a SAG Award.

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Oscars: Green Book wins top award, Alfonso Cuaron best director

Green Book, the tale of a celebrated black pianist who befriends his white driver as they tour the segregated American South in the 1960s, has overcome controversy to win Oscars gold.

The critically acclaimed film on Sunday secured the coveted Best Picture Oscar to wrap up the Academy Awards – a bit of an upset over Mexican filmmaker Alfonso Cuaron’s Roma, which had been the heavy favourite.

The top prize was the third statuette of the night for Green Book, which earned a total of five nominations.

Mahershala Ali won the Best Supporting Actor Oscar for his portrayal of pianist Don Shirley, who strikes up an unlikely friendship with driver Tony “Lip” Vallelonga – Best Actor nominee Viggo Mortensen.

The film also won for Best Original Screenplay.

“The whole story is about love. It’s about loving each other, despite our differences, and finding out the truth about who we are – we’re the same people,” said director Peter Farrelly.

Mahershala Ali accepts the Best Supporting Actor award for his role in Green Book [Mike Blake/Reuters]

Green Book beat seven other films for top honours: Roma, superhero flick Black Panther, Spike Lee’s BlacKkKlansman, Queen biopic Bohemian Rhapsody, offbeat royal romp The Favourite, musical romance A Star Is Born, and Dick Cheney biopic Vice.

Cuaron won the Best Director Oscar for Roma, which also won awards for Best Foreign Language Film and Best Cinematography.

In his acceptance speech, Cuaron paid tribute to the 70 million domestic workers around the world and to indigenous women in his acceptance speech.

“I want to thank the Academy for recognising a film centred around an indigenous woman,” he said.

“A character that has historically been relegated to the background of cinema.”

Alfonso Cuaron speaks on stage after accepting the Best Director award for Roma [Mike Blake/Reuters]
Olivia Colman accepts the Best Actress award for her role in The Favourite [Mike Blake/Reuters]

In an upset, Britain’s Olivia Colman won the Best Actress Oscar for The Favourite, beating presumed frontrunner Glenn Close, who starred in The Wife.

“Glenn Close – you have been my idol for so long, and this is not how I wanted it to be,” a delighted but shocked Colman told her fellow actress, sitting in the audience.

Rami Malek won for his role as late Queen frontman Freddie Mercury in 21st Century Fox musical Bohemian Rhapsody. The film won three other Academy Awards.

“I may not have been the obvious choice, but I guess it worked out,” said Malek, who had been favoured to win the award.

Regina King won her first Oscar for her supporting role as a mother fighting for justice in If Beale Street Could Talk.

BlacKkKlansman meanwhile won the Best Adapted Screenplay award, delivering Spike Lee his first competitive Oscar.

Rami Malek accepts the Best Actor award for his role in Bohemian Rhapsody [Mike Blake/Reuters]
Regina King poses backstage with her Best Supporting Actress award for her role in If Beale Street Could Talk [Mike Segar/Reuters]
Spike Lee (left) embraces Samuel L Jackson after winning the Best Adapted Screenplay award for BlacKkKlansman [Mike Blake/Reuters]

‘White saviour movie’

Green Book – co-written by Vallelonga’s son, Nick – explores race relations and identity as Shirley embarks on the tour and is forced to rely on his initially racist, ill-mannered Italian-American driver.

The feel-good movie is named after The Negro Motorist Green Book, an annual guidebook that provided African Americans advice on safe places to eat and sleep while travelling during segregation.

It racked up a number of accolades in the run-up to the Oscars, including a best musical/comedy film award at the Golden Globes and the top prize from the Producers Guild of America.

But while the film has proven a crowd-pleaser, it has been embroiled in controversy since its premiere.

Peter Farrelly accepts the Best Picture award for Green Book [Mike Blake/Reuters]

Shirley’s relatives, including his brother, have objected to the storyline, saying they were never consulted and have denounced the film as a “symphony of lies”.

Shirley’s niece, Carol Shirley Kimble, blasted the movie as a “depiction of a white man’s version of a black man’s life.”

The film also became part of a wider debate in the United States about race, with many describing it as yet another “white saviour movie” told through the lens of its white protagonist.

“The Green Book is a black story, and for a white man to steal that legacy and name for a film that has little or nothing to do with The Green Book is unacceptable,” Oscar-winning director Roger Ross Williams said in a Facebook post.

“We have always had our stories and our history stolen from us and told through the lens of whiteness and this film is Hollywood’s latest example.”

Vallelonga has defended his work, saying it was based on stories his father told him about the tour. He also says Shirley advised him before his death not to speak to anyone else about his project.

“We were aware of the certain tropes, like the white savior trope – the white guy saves the black guy — as well as the black savior trope – the black guy saves the white guy,” Farrelly told Newsweek in November.

“We were careful not to make this film either of those.”

Farrelly and Nick Vallelonga had both attracted negative headlines themselves – the director for an apparent dirty practical joke he used to pull on sets, and Vallelonga for an anti-Muslim tweet. Both later apologised.

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Marvel’s Big Night At The Oscars: All The Ways Black Panther Made History



Marvel Studios

The Marvel Cinematic Universe is nobody’s idea of an underdog, with its 20 blockbuster films having made a combined $6.8 billion at the box office (and that’s just in the U.S. alone). But before the 2019 Oscars, Marvel Studios had never won an Academy Award, manifesting the unspoken-but-established idea that superhero flicks don’t hold a place among end-of-year cinematic prestige.

Well, guess what? All of that went out the window on Sunday night (February 24) when Black Panther made history for Marvel Studios by winning three — count ’em, three! — Oscars.

Ryan Coogler’s game-changing, billion-dollar blockbuster — which had racked up seven total nominations, including Best Picture — claimed its first award early in the telecast, for Best Costume Design. Along with making history for Marvel, designer Ruth Carter became the first Black woman to ever win in the category. In her speech, Carter said, “Marvel may have created the first black superhero, but through costume design, we turned him into an African king.” She also quipped, “Adding vibranium to costumes is very expensive!”

Immediately after that, Black Panther won the Oscar for Best Production Design, thanks to production designer Hannah Beachler and set decorator Jay Hart, who built and created the vibrant nation of Wakanda. Notably, Beachler became the first Black artist to ever win the award, and she was the first Black artist nominated in the category’s 90-year existence.

The movie’s third and final win came in the Best Score category, when composer Ludwig Göransson — who just recently reflected on his “surreal” nomination with MTV News — accepted the award. With that victory, Black Panther officially became the winningest superhero movie in Academy Awards history, surpassing The Incredibles and The Dark Knight, which each won two Oscars.

These groundbreaking wins only further cement Black Panther‘s place in history, both within Marvel Studios and throughout all of Hollywood. It also just makes the bar that much higher for Coogler and Co. for Black Panther 2… but for now, they can celebrate the fact that the Academy has weighed in and firmly decided, “Wakanda forever!”

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The most savage reviews of 2019 Best Picture winner ‘Green Book’

Plenty of critics didn't see this coming.
Plenty of critics didn’t see this coming.

Image: universal pictures

2018%252f06%252f27%252fdf%252funnamed2.04764.jpg%252f90x90By Alison Foreman

Newly-named Best Picture winner Green Book may have won over the Academy, but it sure didn’t win over all critics. 

Even as Green Book‘s Oscars campaign picked up steam, it’s earned some reviews ranging from unfavorable to flat-out brutal, with much of the criticism stemming from accusations that the film was tone-deaf to its subject matter

SEE ALSO: Oscars 2019: The full winners list

Here’s a rundown of what some critics had to say — and in some cases, are still saying — about the highly contentious Green Book.

Matt Goldberg, Collider:

It hides in warm, fuzzy feelings that haven’t been earned and lessons that haven’t been learned. I’d rather a movie made me feel bad for a good cause than feel good for a bad cause.

Whiteness is violence and films like Green Book act like a band-aid on the deep, infected and festering wound that is whiteness and anti-Blackness. Nothing more.

— Lara Witt (@Femmefeministe) February 25, 2019

Cate Young, The Muse:

One could argue that being based on real people, the film is limited by history in the liberties it can take with the story. But given that the film is co-written by Lip’s son Nick Vallelonga, it becomes clearer why the film skews in the direction of dismissing Lip’s racism for the feel-good narrative of a deeply-bonded interracial friendship. In trying to both tout and preserve his father’s legacy, Vallelonga reveals the intrinsic problem with “race movies” like these: they are always, always, always about letting white people off the hook for their individual roles in perpetuating institutional harms.

Lawrence Ware, The New York Times

I saw “Green Book” in a crowd of older white people — the precise audience this film had in mind. Once it was over, they clapped and commented to one another about how good the movie had been. “That was the best film I’ve seen in years!” one woman said as she walked out with a smile on her face. I could understand why.

Remember when Green Book won Best Picture? Man, that choice did not age well.

— Mark Harris (@MarkHarrisNYC) February 25, 2019

Kevin Maher, The Times

Finally, a film for anyone who has watched Beverly Hills Cop and thought: “Hmm. It’s good, but it would be funnier if they set it in the Deep South in 1962 and they made Eddie Murphy into a snooty concert pianist and Judge Reinhold into an Italian-American bouncer!”

Pray for me. My husband just put on the GREEN BOOK screener cuz he “has to know what people are talking about.” I repeat. I am rewatching GREEN BOOK against my will.

— April Wolfe (@AWolfeful) February 25, 2019

Todd VanDerWerff, Vox

The awards circuit run for the film has revealed that director Peter Farrelly has, in essence, fully bought into the movie’s central notion, which is that racism can be solved if we just get to know each other better. Green Book isn’t a movie about what it’s about. It’s a movie that suggests it’s about weighty topics, but it skirts away from those topics most of the time. It’s entertaining enough, but it’s also deeply weird and evasive. I genuinely can’t believe it’s so beloved in some circles, even when accounting for how much white people (guilty as charged!) enjoy entertainment that absolves them of responsibility.

Some of Green Book’s best friends are black movies.

— Alex Seitz-Wald (@aseitzwald) February 25, 2019

Alistair Harkness, The Scotsman

If the recent Oscar successes of 12 Years a Slave and Moonlight suggested the Academy Awards were becoming more racially progressive, culturally sensitive and artistically minded, the sudden elevation of Green Book to one of this year’s front-runners feels like a step backwards. Specifically, it feels like a step back in time to 1990, when Driving Miss Daisy won the Oscar for Best Picture.

Justin Chang, LA Times

“Green Book” is the worst best picture Oscar winner since “Crash,” and I don’t make the comparison lightly. Like that 2005 movie, Peter Farrelly’s interracial buddy dramedy is insultingly glib and hucksterish, a self-satisfied crock masquerading as an olive branch. It reduces the long, barbaric and ongoing history of American racism to a problem, a formula, a dramatic equation that can be balanced and solved. “Green Book” is an embarrassment; the film industry’s unquestioning embrace of it is another.

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